Books and videos in the SRJC Libraries relevant to the work of artist Stephen Hopkins.
A survey of modern paintings, whose disconcerting fidelity to life prompts a reexamination of common, everyday sights that are taken for granted. Artists included: Robert Bechtle, Charles Bell, Tom Blackwell, Chuck Close Robert Cottingham, Don Eddy, Richard Estes, Audrey Flack, Ralph Goings, Ron Kleemann, Richard McLean, John Salt, and Ben Schonzeit.
Doyle Library Call Number: ND196.P42 P45 1989
David Hockney examines the major works of art history and reveals how artists such as Caravaggio, Velazquez, van Eyck, Holbein, Leonardo and Ingres used mirrors and lenses to help them create their famous masterpieces. Hundreds of paintings and drawings are reproduced and accompanied by Hockney's infectious and enthusiastic descriptions. His own photographs and drawings illustrate the various methods used by past artists to capture accurate likenesses, and present the results they would have achieved. In addition, extracts from the many historical and modern documents that he uncovered offer further intriguing evidence, while correspondence between himself and an array of international experts provides an exciting account of the remarkable story as it happened. This book is not just about the lost techniques of the Old Masters. It is also about now and the future. It is about how we see, treat and make images today, in an age of computer manipulation.
Mahoney Library Call Number: ND1471 .H63 2001
One of the most enduringly popular painters of the twentieth century, Edward Hopper produced many works now considered icons of Modern art. His work not only reshaped what painting looked like in America, but created a visual language for middle-class life and its discontents. This extensive new assessment of Hopper, which accompanies a major traveling exhibition, examines the dynamics of the artist's creative process and discusses his work within the cultural currents of his day--examining the influence not only of other painters, but also of such media as literature and film. And while most studies have tended to see Hopper as the great painter of alienation, this one takes a much broader, more nuanced, and ultimately more representative view.
Mahoney Library Call Number: N6537.H6 A4 2007
As a novelist, art critic, and cultural historian, the author John Berger is a writer of eloquence and insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In this book he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.
Doyle Library Call Number: N71 .B398 1991
This illustrated book explores the tremendous scope, richness, toughness, sensibility, and liveliness of the American realist tradition. Sixteen varied sections discuss and display the finest and most influential work of different groups, schools, and periods beginning before the Revolutionary War and including American Impressionism, the Ashcan School, Precisionism, American Scene painting, Urban Realism, Photorealism, and today's Postmodern Realism - and provide convincing proof that the American realist legacy occupies an unparalleled position in world art. In this important critical synthesis, the author discusses the work of the pioneering masters of American realism, such as Thomas Eakins, Mary Cassatt, Charles Sheeler, Thomas Hart Benton, Georgia O'Keeffe, Edward Hopper, and Andrew Wyeth.
Mahoney Library Call Number: ND205.5.R42 L83 1994
Art historians have long speculated on how Vermeer achieved the uncanny mixture of detached precision, compositional repose, and perspective accuracy that have drawn many to describe his work as "photographic.” Vermeer left no record of his method nor of how he worked. But by a close and illuminating study of the paintings the author concludes that Vermeer did use the camera obscura and shows how the inherent defects in this primitive device enabled Vermeer to achieve some remarkable effects--the slight blurring of image, the absence of sharp lines, the peculiar illusion not of closeness but of distance in the domestic scenes. The author argues that the use of the camera also explains some previously unexplainable qualities of Vermeer's art, such as the absence of conventional drawing, the pattern of underpainting in areas of pure tone, the pervasive feeling of reticence that suffuses his canvases, and the almost magical sense that Vermeer is painting not objects but light itself.
Doyle Library Call Number: TR268 .S74 2001