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FENDI meets ART
Fendi meets Art. Inspired by the artwork of Edward Hopper, Karl Lagerfeld creates a series of understated images - Ads and Shop Windows - that place focus on the label’s elegant wear and signature bags.
Via Monte Napoleone, Milan




film :.
Edward Hopper in Milan
 

by Matt Dowson



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Film documentary:.
EDWARD HOPPER IN MILAN
director: Matt Dowson
screeplay: Hanna Mayer
starring: Kevin McDonald, Ilaria Bolognesi
libretto:
Carol Troyen
exhibition curated by Carter E. Foster - Scientific coordination by Carol Troyen, Katy Spurrel
Edward Hopper interview: Excerpt from National Gallery of Art video documentary
shot on location: Palazzo Reale
music: 1940s ARTIE SHAW
film running time: 00:12:05



FENDI meets ART.

"There was a beautiful Edward Hopper exhibition in Rome
and that gave me the idea for the colours,
Karl Lagerfeld



Inspired by the artwork of Edward Hopper, Karl Lagerfeld creates a series of understated images - Ads and Shop Windows - that place focus on the label’s elegant wear and signature bags.



Fendi‘s ads along Fendi boutique  shop windows are  inspired by prominent American realist painter and printmaker Edward Hopper. Shot by Karl Lagerfeld, the ads  feel very arty instead of fashionable. In a Karl Lagerfeld way. Inspiration without copying!
 


Anja Rubik reappears for the third consecutive season as the face of Fendi with the label’s fall 2011 campaign.



Edward Hopper at the Palazzo Reale
In Italy, for the first time, a major retrospective exhibition has been dedicated to the most celebrated American realist painter of them all. Milan and Rome pay homage to the life’s work of Edward Hopper (1882 - 1967), accompanied by Matt Dowson’s documentary film Edward Hopper in Milan.


Edward Hopper was one of the most popular American artists of the twentieth century. He had the ability to bring seemingly anonymous places to life into unforgettable images, from all-night diners to shop fronts, from cinema halls with their grand elegance to bungalows at Cape Cod bathed in late summer sunlight. His vision was so individual and incisive that these solitary figures glimpsed behind apartment curtains or amongst the long, ghostly shadows of Victorian houses, are now termed Hopperian.
Unlike other artists of his time, who delighted in the monumentality and vibrancy of New York, Hopper never painted the iconic landmarks of the city or its tourist attractions, and yet his urban landscape views are still an accurate evocation of the atmosphere and spirit of Manhattan in the interwar years. Although Hopper was the great American master of light – as he once said: “What I wanted was to paint sunlight on the side of a house” – he was also unsurpassed in his ability to lay bare the deepest recesses of the human soul.



He painted actively for sixty years, during which achieved brilliant distinction not only as an oil painter but also as a water colourist and etcher. His images have influenced many writers and painters, both America and Europe. In a 1995 essay about him, the American writer John Updike characterised his work as “calm, silent, stoical, luminous, classic”. In Sun in an Empty Room, the famous American poet John Hollander drew inspiration from one of his last works, Sun in an Empty Room (1963) and the director Alfred Hitchcock looked to his House by the Railroad (1925) for the desolate Bates house in Psycho (1960). Wim Wenders too, who took the iconic Nighthawks (1942) as a model for the set of the film The End of Violence (1997), held Hopper’s work in high esteem for its film-like qualities: “You can always tell where the camera is”. Even abstract painters such as Richard Diebenkorn and Mark Rothko idolised him, Diebenkorn, for his “light and shade and the atmosphere...kind of drenched, saturated with mood”, and Rothko for his use of powerful compositional elements which draw the viewer into the scene.

 

I hate diagonals, but I like Hopper’s”, Rothko once said: “they’re the only diagonals I like”. That a profoundly abstract artist should have such a strong response to a figurative painter shows how Hopper’s works were notable as much for their formal qualities as for their content. And Hopper’s use of light, space and saturated colour to evoke the inner life of the figures who inhabit his pictures transcends the banality of their subjects. Or, as he said himself, “the painter paints to reveal himself through what he sees in his subject”.

Carol Troyen

credits:
FENDI
Via Sant'Andrea, 16
Milano

EDWARD HOPPER
 




 

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