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Les Deux Pigeons

Edward Hopper

Date: 1920

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.47

Text Entries: Zigrosser, Carl. "The Etchings of Edward Hopper." In Prints: Thirteen Illustrated Essays on the Art of the Print Selected for the Print Council of America, edited by Carl Zigrosser. New York: Holt, Rinehart and Winston, 1962. No. 7, pp. 155–73. Levin, Gail. Edward Hopper: The Complete Prints. (exh. cat., Whitney Museum of American Art). New York and London: W. W. Norton & Company in association with the Whitney Museum of American Art, 1979. Text p. 17; pl. 71 (etching), pl. 72 (drawing for etching). Levin, Gail. Edward Hopper: The Art and the Artist. (exh. cat., Whitney Museum of American Art). New York and London, England: W. W. Norton & Company in association with the Whitney Museum of American Art, 1980. Text p. 60; fig. 4. Levin, Gail. Edward Hopper: A Catalog Raisonné. 4 vols. New York: W. W. Norton & Company in association with the Whitney Museum of American Art, 1995. Vol. I: text p. 59, 78; fig. 110, p. 78. Cartwright, Derrick R. The Extraordinary and the Everyday: American Perspectives, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text pp. 20, 23 (checklist); fig. 12, p. 20 (black & white). [specific reference to Terra print] Cartwright, Derrick R. L'héroïque et le quotidien: les artistes américains, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text pp. 20, 23 (checklist); fig. 12, p. 20 (black & white). [specific reference to Terra print] Brettell, Richard R. and Eric Darragon. Edward Hopper: Les années parisiennes 1906–1910. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2004. Ill. p. 39. [specific reference to Terra print]

Night in the Park

Edward Hopper

Date: 1921

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1995.39

Text Entries: Zigrosser, Carl. "The Etchings of Edward Hopper." In Prints: Thirteen Illustrated Essays on the Art of the Print Selected for the Print Council of America, edited by Carl Zigrosser. New York: Holt, Rinehart and Winston, 1962. No. 20, pp. 155–73. Levin, Gail. Edward Hopper: The Complete Prints. (exh. cat., Whitney Museum of American Art). New York and London: W. W. Norton & Company in association with the Whitney Museum of American Art, 1979. Pl. 80 (etching), pl. 81 (drawing for etching). Levin, Gail. Edward Hopper: The Art and the Artist. (exh. cat., Whitney Museum of American Art). New York and London, England: W. W. Norton & Company in association with the Whitney Museum of American Art, 1980. Text p. 20; fig. 21. Carey, Frances and Antony Griffiths. American Prints 1879–1979, Catalogue of an Exhibition at the Department of Prints and Drawings in the British Museum. (exh. cat., British Museum). London, England: Trustees of the British Museum, 1980. No. 62, p. 33. Jacobowitz, Ellen S. and George H. Marcus. American Graphics 1860–1940, Selected from the Collection of the Philadelphia Museum of Art. (exh. cat., Philadelphia Museum of Art). Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1982. No. 52, p. 55. Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Ill. p. 139, cat. no. 38 (color).

The Railroad

Edward Hopper

Date: 1922

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.23

Text Entries: Zigrosser, Carl. "The Etchings of Edward Hopper." In Prints: Thirteen Illustrated Essays on the Art of the Print Selected for the Print Council of America, edited by Carl Zigrosser. New York: Holt, Rinehart and Winston, 1962. No. 24, pp. 155–73. Levin, Gail. Edward Hopper: The Complete Prints. (exh. cat., Whitney Museum of American Art). New York and London, England: W. W. Norton & Company in association with the Whitney Museum of American Art, 1979. Pl. 87 (etching), pl. 88 (drawing for etching). Jacobowitz, Ellen S. and George H. Marcus. American Graphics 1860–1940, Selected from the Collection of the Philadelphia Museum of Art. (exh. cat., Philadelphia Museum of Art). Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1982. No. 55, p. 58. Creation & Craft: Three Centuries of American Prints. (exh. cat., Hirschl & Adler Galleries). New York: Hirschl & Adler Galleries, 1990. No. 87, p. 85. Levin, Gail. Edward Hopper: A Catalog Raisonné. 4 vols. New York: W. W. Norton & Company in association with the Whitney Museum of American Art, 1995. Vol. III: fig. 231.1, p. 156. Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Ill. p. 139, cat. no. 40 (color).

Dawn in Pennsylvania

Edward Hopper

Date: 1942

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1999.77

Text Entries: Edward Hopper is recognized today one of the foremost chroniclers of quintessentially American scenes. His career began at the young age of seventeen. Early attempts at establishing himself as a painter met failure however and Hopper reluctantly resorted to supporting himself as a commercial artist, adopting etching as his main medium. Such work however shaped Hopper's mastery of form, composition and contrast-elements that became trademarks of his later work. In the 1920s and 30s, Hopper's paintings achieved popularity and his artistic reputation was secured. As a product of a "complicated mental process," his paintings were slowly executed and numbered only two or three each year.Dawn in Pennsylvania is a work characteristic of Hopper in both theme and technical devices. The composition is based on the formal arrangement of solidly painted geometric forms which are firmly placed in both space and time, and he often employs a specific time of day-dawn, noon, dusk-to evoke mood and to examine light. Hopper creates a calculated ambivalence in this work; the train is balanced by the luggage cart and they coexist is an uneasy tension, neither coming nor going. The depot is empty, yet retains a strong suggestion of human presence. As Hopper once stated "You realize the quality of a place most fully on coming to it or leaving it."

Sierra Madre at Monterrey

Edward Hopper

Date: 1943

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1994.18

Text Entries: Hopper, Edward. Record Books. Vol. III, p. 105. Goodrich, Lloyd. Edward Hopper. New York: Harry N. Abrams, 1978. Ill. p. 260 (black & white). Sotheby's New York, New York (Sale 6568, May 25, 1994): lot 111. Ill. lot 111 (color). Sierra Madre at Monterrey, Edward Hopper. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, September 1997. Ill. (black & white). Cartwright, Derrick R. and Paul J. Karlstrom. American Moderns, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 61 (checklist). Cartwright, Derrick R. and Paul J. Karlstrom. L'Amérique et les modernes, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 61 (checklist). Brownlee, Peter John. Manifest Destiny / Manifest Responsibility: Environmentalism and the Art of the American Landscape. (exh. cat., Loyola University Museum of Art, Chicago, Illinois). Chicago, Illinois: Terra Foundation for American Art and Loyola University Museum of Art, 2008. Text p. 36 (checklist). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 235; ill. p. 235 (color). Mazow, Leo, with Sarah G. Powers. Edward Hopper and the American Hotel. (exh cat. Virigina Museum of Fine Arts). Richmond, VA: Virginia Museum of Fine Arts, distributed by Yale University Press, 2019. Text pp. 135–36; ill. p. 136 (color).