| Title |
|
Study After Velasquez |
| Artist |
|
Edward Hopper |
| Markings |
|
Inscribed at lower right: Velazquez |
| Medium |
|
Pen and ink on paper |
| Dimensions |
|
4 1/4" x 4 1/4" (13 1/2" x 13 1/4", framed) |
| Provenance |
|
The artist, until 1967; to his widow, Jo Hopper, until 1968;
to private collection, until the present |
| Authenticity |
|
Guaranteed by Hirschl & Adler Galleries
21 East 70th St., New York, NY 10021 |
| Commentary |
|
It is not surprising that the art of Velasquez was one source of inspiration for Hopper's brand of uncompromising realism. Art school training of the time stressed the importance of copying old masters and this 1650 masterpiece held a particular fascination for Hopper. Hopper achieved a heightened dramatization of Pope Innocent X in both visual and emotional terms by isolating the head and framing it with vivid dark hatch marks. At the same time Hopper retained Velasquez's achievement of revealing the private character of the man as well as the papal splendor of the office. Hopper centers in on the head and collar, eliminating the rest of the Velasquez half-length portrait. In 1965 the British painter, Francis Bacon, completed more than 40 studies on the Velasquez subject, but his concern was with the dynamics of the figure rather than the character of the face. RPM |
| Retail Price |
|
Contact Gallery for Pricing |
| Telephone |
|
610-366-7300 |
| Email |
|
info@thurstonroyce.com |
 SEE MORE OF THIS ARTIST |
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