Fechas

Del 12 de junio al 16 de septiembre de 2012.

Lugar
Sala de exposiciones temporales. Planta baja.
Horario
De martes a sbado, de 10.00 a 23.00 h.
Lunes y domingo, de 10.00 a 19.00 h. Lunes
20 de agosto cerrado. Como complemento
a la visita se puede cenar en el restaurante-
terraza El Mirador, situado en la planta tico del
Museo. El desalojo de las salas de exposicin
tendr lugar cinco minutos antes del cierre.
Venta de entradas
Aforo limitado. Para asegurarse el acceso
a la exposicin en el da y hora deseados,
recomendamos adquirir las entradas
anticipadamente. Sistema de venta
de entradas con hora asignada y acceso
garantizado a la exposicin en el da
y hora elegido.
Venta anticipada:
Taquilla del Museo
www.museothyssen.org
Tel.: 902 760 511
Tarifas
General:
Colecciones Thyssen-Bornemisza: 9,00
Exposicin Hopper: 10,00
Entrada combinada para las Colecciones
Thyssen-Bornemisza y la exposicin
Hopper: 15,00
Mayores de 65 aos, pensionistas,
estudiantes, titulares de Carn Joven,
profesores de Bellas Artes, ciudadanos con
discapacidad superior al 33% y miembros
de familia numerosa, previa acreditacin:
Colecciones Thyssen-Bornemisza: 6,00
Exposicin Hopper: 6,00
Entrada combinada para las Colecciones
Thyssen-Bornemisza y la exposicin
Hopper: 8,00
Gratuita: menores de 12 aos acompaados
y ciudadanos en situacin legal de
desempleo, previa acreditacin.
Dates
12 June to 16 September 2012.
Venue
Temporary exhibition galleries. Ground Floor.
Opening times
Tuesdays to Saturdays, 10am to 11pm.
Mondays and Sundays, 10am to 7pm.
Closed on Monday 20 August. El Mirador
Restaurant offers the ideal accompaniment
to a visit, located on Museums top floor.
Visitors are asked to leave the galleries five
minutes before closing.
Ticket sales
Limited entry numbers. Early booking
is recommended to ensure entry for
the chosen day and time. Ticket sales
offering guaranteed entry for the selected
day and time.
Pre-booked tickets:
At the Museums ticket desks
www.museothyssen.org
Tel: 902 760 511
Ticket prices
General:
Thyssen-Bornemisza Collections: 9,00
Hopper exhibition: 10,00
Combined ticket for Thyssen-Bornemisza
Collections and Hopper exhibition: 15,00
Senior citizens (65 and over), pensioners,
Carn Joven holders, Fine Arts teachers,
students, Disabled with 33% rating
and members of large families, with proof
of status:
Thyssen-Bornemisza Collections: 6,00
Hopper exhibition: 6,00
Combined ticket for Thyssen-Bornemisza
Collections and Hopper exhibition: 8,00
Free admission: Accompanied children
under 12 and officialy unemployed people.
Edward Hopper naci en Nyack y vivi durante toda su vida en Nueva York,
aunque pas veraneos largos junto al mar en su estudio de Cape Cod. Hijo
de un matrimonio de clase media modesta, manifest su vocacin por la
pintura desde muy joven. Tras estudiar ilustracin comercial durante un
ao, se matricul en los cursos de pintura de la New York School of Art,
cuyo director era William Merritt Chase. All se inscribi en el taller de
Robert Henri, un profesor que defenda un realismo orientado hacia la
representacin de temas de la vida cotidiana de la sociedad americana.
Terminados sus estudios, Hopper viaj a Pars y permaneci all duran-
te el curso de 1906-1907. Volvi a la capital francesa, en estancias ms cor-
tas en 1909 y 1910. A partir de entonces y hasta su fallecimiento en 1967
slo sali del territorio de los Estados Unidos para hacer un par de via-
jes de corta duracin a Mxico.
Edward Hopper was born in Nyack and lived all his life in New York al-
though he spent long summers by the sea in his Cape Cod studio. Born
into a modest, middle-class family, Hoppers interest in painting revealed
itself at a very young age. He studied commercial illustration for a year
then enrolled in the painting classes at the New York School of Art, direct-
ed by William Merritt Chase. There Hopper joined the studio of Robert
Henri, a teacher who promoted a realism that focused on the depiction
of everyday American life. Having completed his studies Hopper went to
Paris where he spent the academic year 190607, returning there for short-
er periods in 1909 and 1910. From that date onwards until his death in
1967 the artist only left the United States to make a couple of short trips
to Mexico.
EDWARD HOPPER
1882-1967
Autorretrato, 1925-1930
leo sobre lienzo. 64,1 x 52,3 cm
Whitney Museum of American Art, Nueva York.
Legado Josephine N. Hopper; inv.: 70.1165
Self-Portrait, 192530
Oil on canvas. 64.1 x 52.3 cm.
Whitney Museum of American Art, New York,
Josephine N. Hopper bequest; inv. no. 70.1165
Durante muchos aos Hopper vivi trabajando como ilustrador co-
mercial. A partir de 1918 empez a adquirir reputacin como grabador,
pero el verdadero cambio de fortuna se produjo en 1925, cuando una ex-
posicin suya de acuarelas en la Rehn Gallery se vendi por completo.
Este xito le permiti dedicarse a la pintura de manera exclusiva. En 1933
el MoMA hizo una gran muestra monogrca de su obra. La siguiente
monogrca la organiz en 1950 el Whitney Museum of American Art,
institucin que se ocup desde entonces de estudiar y divulgar su obra
y que conserva hoy la coleccin ms importante de Hopper.
FORMACIN E INFLUENCIAS
La inuencia ms signicativa en la formacin de Hopper fue el realis-
mo que defenda su profesor Robert Henri. Se dena por su oposicin
tanto al academicismo, todava muy presente a comienzos del siglo XX,
como al llamado impresionismo americano, una tendencia que los rea-
listas consideraban articiosa y ajena a la cultura americana. La primera
manifestacin pblica del grupo de pintores realistas fue una exposicin
Hopper worked for many years as a commercial illustrator but from
1918 began to acquire a reputation as a printmaker. His real change of for-
tunes, however, came about in 1925 when an exhibition of his watercol-
ours at the Rehn Gallery was completely sold out. This success allowed
him to dedicate himself entirely to painting. In 1933 the MoMA made
Hopper the subject of a major solo exhibition, which was followed by
another one in 1950 at the Whitney Museum of American Art. From that
date onwards, the Whitney embarked on the study and dissemination of
the artists work, of which it now houses the most important collection.
TRAINING AND INFLUENCES
The most important inuence on Hoppers training was the realism cham-
pioned by his teacher Robert Henri. This realism constituted both an
opposition to academicism, which was still notably present in the early
20
th
century, and to so-called American Impressionism, which was a type
of modern art that the realists considered articial and alien to American
culture. The rst public manifestation of the new trend was a group show
Habitacin de hotel, 1931
leo sobre lienzo.
152,4 x 165,7 cm
Museo Thyssen-Bornemisza,
Madrid; inv.: 1977.110
Hotel Room, 1931
Oil on canvas.
152.4 x 165.7 cm
Museo Thyssen-Bornemisza;
Madrid; inv. no. 1977.110
colectiva organizada por Robert Henri en 1908 en las Macbeth Galleries
de Nueva York y sus representantes ms destacados, aparte del mismo
Henri, eran John Sloan y George Bellows. Aunque Hopper qued al mar-
gen del grupo, estaba prximo a l y comparta en buena medida su idea-
rio artstico y sus referencias histricas, especialmente la admiracin por
Velzquez, el realismo holands del siglo XVII, Courbet y Manet. Sus es-
tancias en Pars (con breves viajes a Holanda y a Espaa) le conrmaron
en el realismo, pero le permitieron tambin estudiar la pintura impre-
sionista, que influy decisivamente en su manera de entender el color.
Otros pintores europeos que suscitaron su inters y le ayudaron a con-
gurar su lenguaje pictrico fueron Albert Marquet, Flix Vallotton y el
britnico Walter Sickert. Sickert era un seguidor de Degas y la de este
ltimo artista fue seguramente la inuencia ms profunda y duradera que
recibi Hopper. No slo adopt, reinterpretndolos, muchos recursos pic-
tricos del maestro francs, sino que hizo suya su aproximacin elusiva
e intimista de la vida moderna, as como su concepcin de la posicin sin-
gular y a la vez marginal que el artista ocupa en ella.
Soir bleu, 1914. leo sobre lienzo. 91,4 x 182,9 cm. Whitney Museum of American Art, Nueva York.
Legado Josephine N. Hopper; inv.: 70.1208
Soir Bleu, 1914. Oil on canvas. 91.4 x 182.9 cm. Whitney Museum of American Art, New York,
Josephine N. Hopper bequest; inv. no. 70.1208
Dos cmicos, 1966. leo sobre lienzo. 78,1 x 106 cm
Coleccin privada
Two Comedians, 1966. Oil on canvas. 78.1 x 106 cm
Private collection
organised by Robert Henri in 1908 at the Macbeth Galleries in New York.
Apart from Henri himself the most important representatives of the new
style to be seen in the exhibition were John Sloan and George Bellows.
Although Hopper remained apart from the group he was close to it and
shared its artistic ideas and historical references to a considerable degree,
particularly an admiration for Velzquez, 17
th
-century Dutch realism,
Courbet and Manet. Hoppers trips to Paris (from where he made short
visits to Holland and Spain) conrmed his commitment to realism but also
allowed him to study Impressionist painting, which had a decisive inuence
on his way of understanding colour. Other painters who interested him and
helped him to formulate his own pictorial language were Albert Marquet,
Flix Vallotton and the British painter Walter Sickert. Sickert was a fol-
lower of Degas, who would ultimately prove Hoppers most important
and long-lasting inuence. Not only did he adopt and reinterpret many
of Degas pictorial devices but also assimilated his elusive and intimate
concept of modern life as well as Degas awareness of the artists privileged
but marginal position in society.
Pintada en Nueva York en 1914, Soir bleu es la obra maestra que resume
y concluye los aos de aprendizaje de Hopper. Titulado por el propio ar-
tista en francs citando un verso de Rimbaud, el cuadro representa una
escena crepuscular en la terraza de un caf de Pars que debe leerse como
una alegora de la vida moderna. La gura de Pierrot, un autorretrato del
pintor que ocupa una posicin central en la composicin, volver a apa-
recer slo una vez ms en su obra. Ser en Dos cmicos (1966) el ltimo
cuadro pintado por Hopper.
GRABADOS Y ACUARELAS
Durante muchos aos la pintura de Hopper fue poco apreciada por el
pblico y por la crtica y el artista tuvo que vivir trabajando como ilus-
trador comercial, una actividad para la que estaba bien dotado, pero que
detestaba. En 1915 comenz a experimentar con el grabado calcogrco.
Un precedente relevante para Hopper en el uso de esta tcnica era Ma-
net, aunque la referencia fundamental fue Rembrandt. Fue el maestro ho-
lands quien le ayud a entender la importancia de la luz y la manera de
llevarla al papel para denir el ambiente y el carcter de las escenas repre-
sentadas. Entre 1918 y 1923, ao en que abandon esa tcnica, Hopper rea-
liz una treintena de grabados. En ellos se apuntan ya las grandes lneas
Casas en Squam Light, Gloucester, 1923. Acuarela sobre papel. 28,6 x 44,3 cm
Museum of Fine Arts, Boston, legado de John T. Spaulding; inv.: 48.716
Houses of Squam Light, Gloucester, 1923. Watercolour on paper. 28.6 x 44.3 cm
Museum of Fine Arts, Boston, bequest of John T. Spaulding; inv. no. 48.716
Casa junto a la va
del tren, 1925
leo sobre lienzo. 61 x 73,7 cm
The Museum of Modern Art,
Nueva York. Donado
annimamente, 1930;
inv.: 3.1930
House by the Railroad, 1925
Oil on canvas. 61 x 73.7 cm
The Museum of Modern Art,
New York, anonymous gift
of 1930; inv. no. 3.1930
Painted in New York in 1914, Soir Bleu is the masterpiece that summar-
ises and concludes Hoppers years of study and learning. Titled in French
by the artist with a reference to a line of verse by Rimbaud, the painting
depicts an evening scene on a caf terrace in Paris and should be inter-
preted as an allegory of modern life. The gure of Pierrot, a self-portrait
of Hopper that occupies a central position in the composition, would
only reappear once more in his work, in his nal painting, Two Come-
dians (1966).
PRINTS AND WATERCOLOURS
For many years Hoppers painting failed to nd favour with the public or
critics and he was thus obliged to work as a commercial illustrator, an ac-
tivity in which he was gifted but which he loathed. In 1915 he began to
experiment with copper-plate etching. An important precedent in the use
of this technique was provided by Manet, although Hoppers key point of
reference was Rembrandt, whose prints helped him to understand the
importance of light and to make use of it in prints in order to create the at-
mosphere and character of the scene depicted. Between 1918 and 1923,
the year he abandoned this technique, Hopper made around 30 prints in
which he established the principal themes and subjects that he would
temticas que iba a desarrollar posteriormente en su pintura. Los graba-
dos de Hopper fueron muy bien recibidos en el mundo artstico de Nueva
York y en 1923 el Museo de Brooklyn adquiri uno de ellos. Era la primera
obra del artista que entraba en un museo.
Desde sus aos de formacin en la New York School of Art Hopper
tuvo ocasin de familiarizarse con la prctica de la acuarela, una tcni-
ca que contaba con antecedentes importantes en la tradicin artstica nor-
teamericana. Hacia nales de la segunda dcada del siglo XX comenz a
trabajar en una serie de acuarelas de tema paisajstico. Segua con ello un
camino que en la generacin anterior haba abierto el pintor norteame-
ricano Winslow Homer. A diferencia de Homer, Hopper no se interesa-
ba por la naturaleza, ni por el paisaje rural, sino que se centraba en vis-
tas urbanas o suburbanas. En 1925 el marchante Frank Rehn mostr en
su galera un conjunto de acuarelas de Hopper. Fue la primera exposicin
individual del artista y se vendieron todas las obras expuestas. El xito
permiti que Hopper abandonara su trabajo de ilustrador para dedicar-
se exclusivamente a la pintura. Tena entonces 43 aos.
subsequently develop in his paintings. These etchings were extremely
well received by the American art world and by museums and in 1923 the
Brooklyn Museum acquired one of them, which was thus the rst work
by Hopper to enter a museum.
During his years of training at the New York School of Art, Hopper learn-
ed the technique of watercolour, which had important precedents in the
American tradition. Around the end of the second decade of the 20
th
cen-
tury he began to work on a series of watercolours on landscape subjects,
following a direction marked out by the American artist Winslow Homer.
In contrast to Homer, Hoppers focus was not that of nature nor the rural
landscape but rather urban or suburban views. In 1925 the art dealer Frank
Rehn showed a group of Hoppers watercolours at his gallery in what was
the artists rst solo exhibition. All the works exhibited were sold, a suc-
cess that allowed Hopper to give up his work as an illustrator and devote
himself entirely to painting. By this date he was forty-three.
Gasolina, 1940. leo sobre lienzo. 66,7 x 102,2 cm. The Museum of Modern Art,
Nueva York. Mrs. Simon Guggenheim Fund, 1943; inv.: 577.1943
Gas, 1940. Oil on canvas. 66.7 x 102.2 cm. The Museum of Modern Art, New York,
Mrs Simon Guggenheim Fund; inv. no. 577.1943
El Loop del puente de Manhattan, 1928. leo sobre lienzo. 88,9 x 152,4 cm
Addison Gallery of American Art, Phillips Academy, Andover. Donacin de Stephen
C. Clark, Esq.; inv.: 1932.17
Manhattan Bridge Loop, 1928. Oil on canvas. 88.9 x 152.4 cm. Addison Gallery of
American Art, Phillips Academy, Andover, gift of Stephen C. Clark, Esq; inv. no. 1932.17
Dos puritanos, 1945. leo sobre lienzo. 76,2 x 101,6 cm
Coleccin privada; Cortesa de Ronald Feldman Fine Arts, Nueva York
Two Puritans, 1945. Oil on canvas. 76.2 x 101.6 cm
Private collection, courtesy Ronald Feldman Fine Arts, New York
EL PAISAJE NORTEAMERICANO
El paisajismo haba sido el gnero ms importante de la pintura nortea-
mericana del siglo XIX. Aunque cultiv tambin otros tipos de pintura, el
rpido crecimiento de la reputacin de Hopper durante la segunda mi-
tad de los aos veinte se debi sobre todo a sus paisajes. Su obra, sin em-
bargo, supone una ruptura respecto de la tradicin decimonnica, ya que
se centra sobre todo en las vistas urbanas de Manhattan o en las zonas re-
sidenciales de las periferias urbanas. Lo hace sin condescendencia algu-
na, subrayando la vulgaridad y la inhospitalidad de los lugares pintados.
Un ejemplo caracterstico lo encontramos en su representacin de los
puentes suspendidos que unen Manhattan con Brooklyn, grandes obras
de ingeniera que suscitaban la admiracin popular pero que l representa
como espacios speros y desolados en los que lo nico que parece inte-
resarle es su complejidad visual.
Aunque Hopper pint tambin paisajes abiertos, frecuentemente situa-
dos en las cercanas de Cape Cod, lugar donde haba construido una casa-
estudio en la que sola veranear, sus temas preferidos siguieron siendo las
THE AMERICAN LANDSCAPE
Landscape had been the most important genre within 19
th
-century Ame-
rican painting. While Hopper also produced other types of paintings, the
rapid rise of his reputation in the 1920s was largely due to his works of
this type. Nonetheless, his approach marked a radical break from the 19
th
-
century tradition as it focused on urban views of Manhattan and the resi-
dential areas of the suburbs. Hopper made no concessions to his subjects,
emphasising the vulgar, inhospitable nature of these places. A character-
istic example is his depiction of the suspension bridges that join Man-
hattan and Brooklyn, great works of engineering that appealed to the
popular imagination but which the artist presented as harsh, desolate
areas in which the only element that seems to interest him is the bridges
visual complexity.
While Hopper also painted open landscapes, often located on the out-
skirts of Cape Cod where he had built a studio-house for his summer holi-
days, his favourite themes continued to be manmade constructions. Over
the years he devoted increasing attention to isolated houses, frequently
Maana en Carolina del Sur, 1955. leo sobre lienzo. 77,6 x 102,2 cm. Whitney Museum
of American Art, Nueva York. Donado por su familia en memoria de Otto L. Spaeth; inv.: 67.13
South Carolina Morning, 1955. Oil on canvas. 77.6 x 102.2 cm. Whitney Museum of American
Art, New York, given in memory of Otto L. Spaeth by his family; inv. no. 67.13
Carretera de cuatro carriles, 1956
leo sobre lienzo. 69,9 x 105,4 cm. Coleccin privada
Four Lane Road, 1956
Oil on canvas. 69.9 x 105.4 cm. Private collection
obras debidas a la mano del hombre. Con el transcurrir de los aos dedic
una atencin cada vez mayor a las casas aisladas, presentndolas frecuen-
temente como indicios o sntomas de una cierta manera de vivir y situarse
ante la vida. En Dos puritanos encontramos un buen ejemplo de esa trans-
formacin de lo arquitectnico en psicolgico.
Adems de casas los cuadros de Hopper representan carreteras, gaso-
lineras, vas o estaciones de tren, construcciones que se asocian a la mo-
vilidad geogrca y al desarraigo, unos rasgos sociales que se fueron acen-
tuandocon la depresin econmica de los aos treinta y quedaron inscritos
profundamente en el imaginario colectivo norteamericano.
Durante los ltimos quince aos de su vida, al tiempo que la produc-
cin de Hopper se hace todava ms lenta, sus composiciones se hacen
ms simples, su materia pictrica ms seca y ligera y sus escenas ms
expresivas, llegando en algunos casos a evocar la pintura de los primiti-
vos italianos, como Giotto. Un buen ejemplo de todo ello puede verse en
Maana en Carolina del Sur.
Habitacin en Nueva York, 1932. leo sobre lienzo. 74,4 x 93 cm. Sheldon Museum of Art,
University of Nebraska-Lincoln, F. M. Hall Collection; inv.: H-166
Room in New York, 1932. Oil on canvas. 74.4 x 93 cm. Lincoln, Sheldon Museum of Art,
University of Nebraska-Lincoln UNL-F.M. Hall Collection; inv. no. H-166
presenting them as signs or manifestations of a particular lifestyle and
attitude. Two Puritans offers a good example of this transformation of
the architectural into the psychological.
In addition to the houses in his paintings, Hopper also depicted
roads, gas stations and railway lines and stations, all constructions as-
sociated with geographical mobility and rootlessness, social traits that
were increasingly evident with the economic depression of the 1930s
and which became profoundly inscribed in the collective American
imagination.
During the last fteen years of his life the artist worked even more
slowly while his compositions became increasingly simple, his applica-
tion of the paint dryer and lighter and his scenes more expressive, in
some cases to the point of evoking the work of the Early Italian Primi-
tives such as Giotto. A good example of all these characteristics is South
Carolina Morning.
ESCENAS DE INTERIOR
Las escenas de la vida cotidiana situadas en interiores domsticos cons-
tituyen un gnero muy conocido en la historia del arte cuyo paradigma ori-
ginal se encuentra en la pintura holandesa del siglo XVII. Por su propia na-
turaleza se asocian espontneamente con la expresin verbal, bien porque
describen ciertos personajes o situaciones sociales que se nos presentan
como tpicos, bien porque sugieren alguna historia que nos parece de al-
gn modo familiar, bien por una combinacin de ambas caractersticas.
En el siglo XIX el gnero adquiri una gran popularidad y fue cultiva-
do, entre otros, por Manet y los pintores del grupo impresionista. Los es-
cenarios se ampliaron para incluir lugares pblicos, tales como los inte-
riores de teatros, cafs, hoteles, etc. El motor de esa transformacin era
el deseo de los artistas modernos de reejar las nuevas costumbres y los
nuevos estados de nimo inducidos por los cambios sociales de la poca,
especialmente los que derivaban del crecimiento rpido y desordenado
de las nuevas metrpolis industriales y nancieras, como Pars, Londres
INTERIOR SCENES
Scenes of daily life located in domestic interiors are a celebrated genre
within the history of art, dating back to 17
th
-century Dutch painting. Due
to their inherent nature they are linked to verbal expression, either be-
cause they describe typical characters or social situations or because they
suggest a story that seems in some way familiar to us, or a combination
of both.
In the 19
th
century this genre became extremely popular and was used by
artists such as Manet and the Impressionist painters. The settings of these
works were expanded to encompass public venues including theatres,
cafs and hotels, a change that reected modern artists desires to reect
the new habits and mindsets arising from the social transformations of the
period, particularly those relating to the rapid and chaotic growth of the new
industrial and nancial capitals such as Paris, London and New York.
Among the 19
th
century painters it was Degas who best understood that
Maana en una ciudad, 1944. leo sobre lienzo. 112,6 x 151,9 cm
Williams College Museum of Art, Williamstown; Legado de Lawrence
H. Bloedel, Curso de 1923; inv.: 77.9.7
Morning in a City, 1944. Oil on canvas. 112.6 x 151.9 cm. Williamstown
(MA), Williams College Museum of Art, bequest of Lawrence H. Bloedel,
class of 1923; inv. no. 77.9.7
Sol de maana, 1952. leo sobre lienzo. 71,4 x 101,9 cm. Columbus
Museum of Art, Columbus. Adquisicin Howald Fund; inv.: 1954.031
Morning Sun, 1952. Oil on canvas. 71.4 x 101.9 cm. Ohio, Columbus
Museum of Art, Howald Fund Purchase; inv. no. 1954.031
o Nueva York. De entre los pintores del siglo XIX fue Degas quien mejor
comprendi que esa modernizacin de los contenidos exiga una moder-
nizacin paralela de los recursos pictricos. Para lograrlo experiment con
el encuadre y con la composicin, aprovechndose del nuevo instrumento
de produccin de imgenes que era la fotografa, y jug a fondo con otros
recursos, como la iluminacin, la construccin del espacio pictrico y la
ubicacin del espectador respecto de la escena representada.
Hopper, que era un gran admirador de Degas, se apoy en sus descu-
brimientos, pero los ampli considerablemente y los adapt a las corrien-
tes culturales y a los lenguajes visuales del siglo XX. Le atrajo especialmente
el cine, un medio que potenciaba enormemente las posibilidades narra-
tivas de las imgenes, y con el que estableci a lo largo de su vida un com-
plejo dilogo de prstamos e inuencias mutuas. Fue quiz, en parte al
menos, por la inuencia del cine por lo que en los ltimos aos de su vida
su pintura se fue transformando gradualmente para dar cada vez ms im-
portancia a la luz.
this modernisation of content required a parallel updating of pictorial re-
sources. In order to achieve this he experimented with the viewpoint and
composition, making use of the new medium for producing images pho-
tography and profoundly rethinking other pictorial devices such as the
lighting, the construction of the space and the location of the viewer in
relation to the scene depicted.
A great admirer of Degas, Hopper made use of his discoveries, which
he developed and adapted to the cultural trends and visual languages of
the 20
th
century. He was particularly attracted to lm, a medium that great-
ly enhanced the narrative potential of images and one with which he es-
tablished a complex dialogue of mutual borrowings and inuences over
the course of his life. It was perhaps at least partly due to the inuence of
lm that in the last years of his life Hoppers painting gradually evolved
with the aim of placing an ever increasing emphasis on light.
Museo Thyssen-Bornemisza
mtb@museothyssen.org
www.museothyssen.org
Paseo del Prado, 8
28014 Madrid
Transport
Metro: Banco de Espaa.
Buses: 1, 2, 5, 9, 10, 14, 15, 20, 27, 34, 37,
45, 51, 52, 53, 74, 146 and 150.
Train: Atocha, Sol and Recoletos stations.
Information Service
Tel: 902 760 511
cavthyssen@stendhal.com
Bookshop-Giftshop
Ground floor. Catalogue of the exhibition
on sale.
Cafeteria-Restaurant
Ground floor.
Audio-Guide
Available in Spanish, English and French.
Mobile telephones must not be used
in the exhibition rooms.
Museo Thyssen-Bornemisza
mtb@museothyssen.org
www.museothyssen.org
Paseo del Prado, 8
28014 Madrid
Transporte
Metro: Banco de Espaa.
Autobuses: 1, 2, 5, 9, 10, 14, 15, 20, 27, 34, 37,
45, 51, 52, 53, 74, 146 y 150.
Tren: estaciones de Atocha, Sol y Recoletos.
Servicio de informacin
Tel.: 902 760 511
cavthyssen@stendhal.com
Tienda-Librera
Planta baja. Catlogo de la exposicin
disponible.
Cafetera-Restaurante
Planta baja.
Servicio de audio-gua
Disponible en espaol, ingls y francs.
Se ruega no utilizar el telfono mvil
en las salas de exposicin.
Con la colaboracin de
In collaboration with
Cubierta
Oficina en Nueva York, 1962 (detalle)
leo sobre lienzo. 102,9 x 140 cm
Montgomery Museum of Fine Arts,
Montgomery, The Blount Collection;
inv.: 1989.2.24
Cover
New York Ofice, 1962 (detail)
Oil on canvas. 102.9 x 140 cm. Montgomery
Museum of Fine Arts, Montgomery,
The Blount Collection; inv. no. 1989.2.24
Exposicin organizada en colaboracin con la
Runion des Muses Nationaux-Grand Palais.
Exhibition organised in collaboration with the
Runion des Muses Nationaux-Grand Palais.