Elizabeth Griffiths Smith Hopper, The Artist's Mother - Edward Hopper
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A portrait of the artist's mother by Edward Hopper, rendered in oil with a focus on psychological depth and painterly technique.
This portrait depicts Elizabeth Griffiths Smith Hopper, the mother of the American painter Edward Hopper. Executed in oil on canvas, the work provides a glimpse into the artist's early career before he achieved his later reputation for urban isolation and cinematic lighting. The composition is straightforward, focusing on the sitter in a three-quarter view against a neutral, draped background.
Hopper employs a direct approach to his subject, capturing his mother with a sense of gravity and psychological weight. The palette is dominated by the deep violet of her dress, which contrasts with the white lace collar and her silver hair. The brushwork is confident and painterly, showing the influence of his training under Robert Henri and the Ashcan School. Unlike his later, more clinical depictions of American life, this portrait retains a traditional academic structure while hinting at the sombre, introspective mood that would define his mature output.
The lighting is focused, drawing attention to the sitter's face and hands, which rest calmly in her lap. The background remains indistinct, ensuring that the viewer's attention stays fixed on the figure. This painting is a significant example of Hopper's early portraiture, demonstrating his ability to convey character through subtle shifts in tone and posture. It remains a quiet, observational study of a family member, rendered with technical precision and a restrained emotional register.
Política de devoluciones
Debido a que cada impresión se realiza bajo pedido, no ofrecemos devoluciones, reembolsos ni cambios por cambio de opinión. Si su pedido llega defectuoso, dañado o incorrecto, lo reemplazaremos sin cargo alguno; solo contáctenos dentro de las 48 horas posteriores a la entrega. Consulte nuestra página de reembolsos para obtener todos los detalles.
Envío
Realizamos envíos a todo el mundo, imprimiendo en el centro de producción más cercano a su dirección de entrega. Los plazos y costes de envío varían según el destino; verá las opciones disponibles para usted al finalizar la compra.
Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Elizabeth Griffiths Smith Hopper, The Artist's Mother - Edward Hopper
Artist Biography
Edward Hopper
He grew up in Nyack, a small town on the Hudson River, studied illustration, then moved to Robert Henri's painting class at the New York School of Art. Henri was the central figure of the Ashcan School, which painted American life without prettifying it. Hopper absorbed the directness but not the social energy. His paintings got quieter, more still, more concerned with what people look like when they think nobody is watching.
He went to Paris three times between 1906 and 1910 and came back with Degas and Manet in his head: cropped compositions, angled light, figures caught mid-thought. Then he spent a decade failing commercially, working as an illustrator to pay the bills, and painting watercolours that nobody bought. Success came late. His first solo show was at forty-one.
In 1924 he married Josephine Nivison, a painter who had also studied under Henri. She modelled for nearly every female figure in his paintings, managed his career, and kept detailed records of every work he produced. The marriage was difficult. Both of them had sharp tempers. She engineered his public image as a recluse, which he was, mostly.
Nighthawks, the diner painting, was made in 1942. Jo named it. Hopper admitted he was probably painting the loneliness of a large city, though he was reluctant to say so directly. The diner has no visible door. People have pointed this out for eighty years and nobody has determined whether it was intentional.
¿Por qué elegirnos?
Garantía de entrega sin daños
Envío rápido
Materiales de calidad de museo
También te puede interesar