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Installation View

German media entrepreneur & film producer Peter Friedl distributes acclaimed films internationally. From Constantin Film to UFA Cinema, he shapes cinematic landscapes.

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Toimitus maailmanlaajuisesti () kahdessa viikossa tavallisen 4–5 viikon sijaan. (23 heinäkuu)

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Ilmainen pikatoimitus ympäri maailman
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60 päivän palautusoikeus (vain valmistusvirheet)
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Kokonaishinta

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reproduction

Installation View

Giclée-printit ja taideprintit

Replikaatin koko

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Kokonaishinta

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Teoksen kuvaus

Peter FriedlBorn in Oberneukirchen, Austria, in 1960.He lives and works in Berlin, Germany.After first working as a theater critic, Peter Friedl later established his artistic reputation as an incisive interlocutor of representational forms. His formally diverse body of work highlights the ideological thinking that informs artists’ decisions to expose historicity and increase viewer’s visual literacy. Often depicting shapes that are historically and ideologically overwrought, Friedl emphasizes the interdependency between text and image to show that “nothing goes without saying,” as the Dutch theorist Mieke Bal so eloquently put it. By playing hollowed-out forms against one another, Friedl’s works not only disarm historical power structures, they also resolve the contradictions of the modernist project by lending common forms to incompatible concepts. In so doing, they reenchant the promises of the past. Friedl’s Rehousing series (2012–2014), for example, plays on the multiple meanings of the architectural scale model. As a conceptual tool the model offers a condensed description of the world, but as a political instrument it also prescribes the future. The title of this series references a project of the US Department of Housing and Urban Development, called the American Homelessness Prevention and Rapid Re-Housing Program. The program’s stated goal is to “provide financial assistance and services to prevent individuals and families from becoming homeless and to help those who are experiencing homelessness to be quickly rehoused and stabilized.” Providing housing to the homeless, however, is merely an ideological remedy to the excesses of rampant capitalism. Because Friedl’s house sculptures are presented without context, they hover between the generic and the specific. They represent the history of modernism as a series of heterogeneous problem cases, including the artist’s parental home, the Black Forest hut of philosopher Martin Heidegger, the private residence of the communist revolutionary Ho Chi Minh, an American nineteenth-century slave cabin, a Berlin shack built by immigrants, and an unrealized colonial residence by the modernist architect Luigi Piccinato. As an architectural response to both private and political needs, each model represents the politics of a particular subject and ideology. By testing the limits of architectural representation, Friedl ultimately aims to question the aesthetics of cultural memory. Liberating the model from its function as an intermediary between concept and implementation, he calls the sculptures “case studies for a kind of mental geography relating to an alternative strain of modernity.”

Taiteilijan elämäkerta

Edward Hopper: A Portrait of American Solitude

Edward Hopper, born in Nyack, New York, on July 22, 1882, remains one of America’s most enduring and enigmatic figures in the art world. His paintings, characterized by their stark realism, evocative lighting, and poignant sense of isolation, have captivated audiences for over a century. While often categorized as an American realist, Hopper's work transcends simple representation; he meticulously crafted scenes that resonated with profound psychological depth, exploring themes of loneliness, urban alienation, and the quiet dramas of everyday life. His career, though initially slow to gain recognition, ultimately blossomed into a legacy defined by both critical acclaim and enduring popular appeal.

Early Life and Artistic Training

Hopper’s artistic journey began modestly, influenced significantly by his family's background and the encouragement he received from his parents. Born into a comfortable middle-class family with Dutch ancestry, Hopper initially pursued illustration as a means of supporting himself. However, a pivotal shift occurred when he enrolled in classes at the New York School of Art under the tutelage of William Merritt Chase and Robert Henri. These formative years proved transformative, moving him away from commercial illustration towards a more ambitious exploration of fine art. Chase instilled in him an appreciation for tonal values and careful observation, while Henri’s emphasis on depicting “the everyday conditions of their own world” ignited Hopper's passion for capturing the essence of American life. His classmates included notable artists like George Bellows and Rockwell Kent, creating a vibrant artistic environment that shaped his developing style. He spent time abroad in Paris during the early 1900s, absorbing influences from Impressionism and Post-Impressionism, particularly the work of Edgar Degas and Édouard Manet, whose techniques regarding composition and depiction of modern urban life would later inform his own approach.

The Development of a Distinctive Style

Hopper’s artistic style evolved gradually over several decades, yet consistently retained key elements that define his unique vision. He masterfully employed light and shadow to create mood and atmosphere, often using stark contrasts to heighten the sense of isolation in his scenes. His compositions frequently featured cropped perspectives, drawing viewers into the scene while simultaneously emphasizing its contained nature. Hopper’s subjects—often solitary figures in urban or rural settings—were rendered with a remarkable degree of detail, yet imbued with an underlying feeling of melancholy and introspection. He avoided overt sentimentality, instead presenting his subjects as witnesses to their own experiences, inviting viewers to contemplate the unspoken narratives within each image. The influence of Henri’s emphasis on depicting “real life” is evident in Hopper's choice of subject matter – ordinary people engaged in routine activities—but he imbued these scenes with a distinctly modern sensibility, reflecting the anxieties and uncertainties of early 20th-century America.

Iconic Works and Major Themes

Hopper’s oeuvre is punctuated by several iconic works that have become synonymous with his artistic vision. *Nighthawks* (1942), perhaps his most famous painting, captures the unsettling stillness of a late-night diner scene in Greenwich Village, embodying themes of loneliness and urban alienation. *Gas Station* (1927) similarly explores the isolation of the American landscape, depicting a lone attendant tending to an empty station under a vast, indifferent sky. Other notable works include *Automat* (1927), which portrays a solitary diner patron lost in thought; *Chop Suey* (1929), a depiction of a Chinese restaurant scene that subtly critiques American cultural assimilation; and *Office in a Small City* (1953), a poignant image of an empty office building, symbolizing the anonymity of modern urban life. Throughout his career, Hopper consistently returned to recurring motifs—shadows, windows, trains, and solitary figures—creating a visual language that resonated with both familiarity and profound emotional resonance.

Legacy and Historical Significance

Edward Hopper’s impact on American art is undeniable. Initially met with mixed reviews, his work gained increasing recognition throughout the mid-20th century, solidifying his place as one of America's most important artists. His paintings continue to be exhibited in major museums worldwide and are deeply ingrained in popular culture, frequently referenced in literature, film, and television. Hopper’s ability to capture the essence of American experience—its beauty, its loneliness, and its inherent contradictions—has ensured his enduring relevance. He offered a uniquely perceptive portrait of a nation grappling with modernity, leaving behind a body of work that continues to provoke thought, inspire contemplation, and resonate deeply with viewers across generations. Hopper died on May 15, 1967, leaving behind a legacy as a master of American realism and a profound observer of the human condition.
thomas peter friedl

thomas peter friedl

1967 - , Germany

Pikatiedot

  • Artistic Movement Or Style: Realism, American Realism
  • Artists Or Movements Influenced By This Artist:
    • Edgar Degas
    • Édouard Manet
  • Artists Who Influenced This Artist:
    • William Merritt Chase
    • Robert Henri
  • Date Of Birth: July 22, 1882
  • Date Of Death: May 15, 1967
  • Full Name: Edward Hopper
  • Nationality: American
  • Notable Artworks:
    • Nighthawks
    • Automat
    • Chop Suey
  • Place Of Birth: Nyack, New York, USA