Showing posts with label Edward Hopper. Show all posts
Showing posts with label Edward Hopper. Show all posts
Monday, March 22, 2021
Sits Snugly
Somewhere where River Street become Massachusetts Avenue in North Adams, MA this house sits snugly against the woods, like a house in an Edward Hopper painting. 6x8 inches, oil on panel.
Labels:
berkshires,
Edward Hopper,
Massachusetts,
North Adams,
oil
Thursday, July 13, 2017
Early Sunday Morning in Brooklyn
Here's a painted view of the building at the corner of Bergen and Washington Avenue in Brooklyn, NY, from early last Sunday morning. As you can see, a tree grows in Brooklyn at this corner. Behind the closed roll-up gates is a bar, not open at the time of day I was there. This is a 12x16 oil on panel.
Labels:
Brooklyn,
cityscape,
Edward Hopper,
oil,
Street Scene,
urban
Thursday, March 2, 2017
Baroque in Brooklyn
I've always had a special place in my heart for Edward Hopper's "Early Sunday Morning" painting. His painting is spare and abstract compared to my baroque version with fire escapes and cars. Mine is a Saturday afternoon view of Third Avenue near Carroll Street in Brooklyn. It's an 18x24 oil on canvas.
Labels:
Brooklyn,
cityscape,
Edward Hopper,
oil,
Street Scene,
urban
Thursday, April 23, 2015
Zebra Stripes on a House
This 18x24 oil on canvas painting I completed this morning of a garage attached to a building that probably was a workshop at one time, though it looks like a one room school house. I was attracted by the windows, and the chimney in relation to the windows, and the abstract shapes, and the clapboards. The clapboards, Holy Edward Hopper! Zebra stripes on a house. This building appeared a few days ago under the heading of "Backlit".
Labels:
berkshires,
Edward Hopper,
garage,
homestead,
oil,
shed,
williamstown
Thursday, April 11, 2013
Border Line
A 9x12 oil of the view approaching the Williamstown border at the top of the distant hill from Hancock. I left out the power lines. Edward Hopper left out power lines in his paintings, especially his watercolors, and when he didn't he probably regretted putting them in. It's difficult to get them taut and slight without messing up. Telephone poles imply lines. In the air. The light makes them hard to see. So no need to put them in, unless one wants to make some kind of comment about their presence. The garage in the above painting is next to a former commercial garage, both of which probably had their best days around 1940.
Wednesday, February 8, 2012
Brooklyn Back Yard
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