{"data":{"id":"52","type":"guide","attributes":{"id":52,"title":"The Whitney's Collection: Selections from 1900 to 1965","description":"\u003cp\u003eHear from a range of artists, curators, and scholars speaking about works on view.\u003c/p\u003e","description_es":"\u003cp\u003eEscucha a una variedad de artistas, curadores y académicos hablar sobre trabajos en la exhibición.\u003c/p\u003e","sort_date":"2023-08-03T00:00:00.000-04:00","guide_type":"exhibition","access_only":false,"primary_media_id":20633,"created_at":"2021-02-18T10:35:24.019-05:00","updated_at":"2025-03-20T11:21:41.937-04:00","primary_media_html":"\u003cimg class=\"image\" alt=\"On a desert plain, a pool table with one red and two white pool balls extends toward a dull sky with yellow, blue, orange, and red clouds.\" style=\"aspect-ratio: 2838 / 2350 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/artwork/257/small_72_129_cropped.jpg 512w, https://whitneymedia.org/assets/artwork/257/72_129_cropped.jpg 1024w\" src=\"https://whitneymedia.org/assets/artwork/257/72_129_cropped.jpg\" /\u003e","locations":[],"exhibitions":[{"data":{"id":"317","type":"exhibition_collection","attributes":{"id":317,"title":"The Whitney’s Collection: Selections from 1900 to 1965","start_time":"2019-06-28T00:00:00.000-04:00","end_time":"2025-05-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"url":"/exhibitions/collection-1900-to-1965"}}}],"guide_stops":[{"data":{"id":"14300","type":"guide_stop","attributes":{"id":14300,"title":"Introduction","title_es":"Introducción","stop_number":"700","position":1,"primary_media_id":null,"guide_id":52,"created_at":"2023-10-17T17:05:07.100-04:00","updated_at":"2025-05-02T11:49:09.723-04:00","cover_media_file":null,"cover_media_html":null,"cover_media_description":null,"guide_stop_items":[{"data":{"id":"19579","type":"guide_stop_item","attributes":{"id":19579,"item_type":"audio","item_language":"es","position":1,"guide_stop_id":14300,"media_id":42731,"created_at":"2019-06-18T16:18:41.294-04:00","updated_at":"2023-08-03T13:09:29.013-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrador:\u0026nbsp;\u003c/strong\u003eEsta exhibición proviene en su totalidad de la colección del Whitney, con obras que datan del año 1900 hasta 1965. Esta exhibición ha sido organizada por David Breslin, el DeMartini Family Curator y director de la colección.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2473/intro_spn.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eIntroducción\u003c/p\u003e"}}},{"data":{"id":"19580","type":"guide_stop_item","attributes":{"id":19580,"item_type":"audio","item_language":"en","position":2,"guide_stop_id":14300,"media_id":42730,"created_at":"2019-06-18T16:12:19.927-04:00","updated_at":"2020-02-28T18:17:42.343-05:00","content":"\u003cp\u003e\u003cstrong\u003eDavid Breslin:\u0026nbsp;\u003c/strong\u003eMy name is David Breslin, I’m the DeMartini Family Curator and director of the collection here at the Whitney Museum of American Art. This exhibition, \u003cem\u003eThe Whitney’s Collection: Selections from 1900–1965\u003c/em\u003e, is one that is completely put together from the museum’s holdings.\u0026nbsp;\u003c/p\u003e\u003cp\u003eWhat we wanted to do with this exhibition was really try to show the depth and the breadth of the Whitney’s collection—to show icons that people are familiar with, from great paintings by Edward Hopper and \u003cem\u003eCalder’s Circus\u0026nbsp;\u003c/em\u003eand Jacob Lawrence’s \u003cem\u003eWar Series\u003c/em\u003e, to new acquisitions, like Norman Lewis’s \u003cem\u003eAmerican Totem\u003c/em\u003e, and this great new painting by Ed Clark that really makes our holdings of abstract painting from the mid-twentieth century look as dynamic as it was. And I think that’s what our collection aims to be—to really ground people in the work of the particular moment, to show how all artwork was once contemporary, but also to show how historical work can have new resonance in our contemporary moment, and we bring our feelings, our politics, our emotions, to these artworks in new ways, and really re-engage them to make them new things. So this installation was really one put together with all those ideas in mind—how to make the old new, how to make contemporary ideas feel as resonant with the older works in our collection as one might see in other exhibitions at this museum, to show things that people might know and love but also to introduce other artworks that can be new favorites for when one comes back to the museum to encounter the collection and experience it anew.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2472/700_ENGLISH_Intro.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eIntroduction\u003c/p\u003e"}}}]}}},{"data":{"id":"14313","type":"guide_stop","attributes":{"id":14313,"title":"George Bellows, \u003cem\u003eDempsey and Firpo\u003c/em\u003e, 1924","title_es":"","stop_number":"701","position":2,"primary_media_id":10851,"guide_id":52,"created_at":"2023-10-17T17:05:07.304-04:00","updated_at":"2025-05-02T11:49:09.784-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/808860/31.95_bellows_imageprimacy.jpg","small":{"url":"https://whitneymedia.org/assets/image/808860/small_31.95_bellows_imageprimacy.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/808860/medium_31.95_bellows_imageprimacy.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/808860/large_31.95_bellows_imageprimacy.jpg"}},"cover_media_html":"\u003cimg alt=\"Painting of boxers by George Bellows.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 800 / 650 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/808860/small_31.95_bellows_imageprimacy.jpg 512w, https://whitneymedia.org/assets/image/808860/medium_31.95_bellows_imageprimacy.jpg 800w\" src=\"https://whitneymedia.org/assets/image/808860/large_31.95_bellows_imageprimacy.jpg\" /\u003e","cover_media_description":"\u003cp\u003eGeorge Bellows, \u003cem\u003eDempsey and Firpo\u003c/em\u003e, 1924. Oil on canvas, 51 1/8 x 63 1/4 in. (129.9 x 160.7 cm). Whitney Museum of American Art, New York; purchase with funds from Gertrude Vanderbilt Whitney 31.95\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19618","type":"guide_stop_item","attributes":{"id":19618,"item_type":"kids","item_language":"en","position":1,"guide_stop_id":14313,"media_id":1417,"created_at":"2017-04-07T19:17:43.000-04:00","updated_at":"2020-02-28T18:12:40.997-05:00","content":"\u003cp\u003e\u003cstrong\u003eMelanie Adsit:\u003c/strong\u003e So this is a portrait of lots of people that shows a frozen moment in time. What's happening in this painting?\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eStudent:\u0026nbsp;\u003c/strong\u003eWhat's happening in this painting is that there are two boxers, one of them has knocked the other wrestler out, and the one that got knocked out is falling into the crowd, and the crowd is going wild.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eStudent:\u003c/strong\u003e The crowd is backing up. Their mouths are open, and they’re not going to be having their mouths open without any sound. It's obvious that they're yelping, screaming, roaring.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMelanie Adsit:\u0026nbsp;\u003c/strong\u003eGreat, you guys. This is a painting made by George Bellows in 1924 of a very famous fight between Jack Dempsey, who was the heavyweight champion of the world, and Luis Firpo, who was his rival from Argentina. We see Dempsey in the white shorts and Firpo in the purple shorts. In the first round, Dempsey knocked Firpo down seven times, but then, Firpo landed a punch right on Dempsey's chin and knocked him out of the ring. How does that change the way that you think about this painting?\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eStudent:\u003c/strong\u003e This shows that some people never quit, even if their challenge is really hard and they get beat. But if you keep trying, you can throw in one little thing that can change the whole time.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMelanie Adsit:\u003c/strong\u003e At the end of the fight, though, after this moment, Dempsey got back in the ring, and ultimately Dempsey won the fight. So even though he got knocked out, he came back and beat Firpo in the end.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1626/731_george_bellows_dempsey_and_firpo_1924.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eGeorge Bellows, \u003cem\u003eDempsey and Firpo\u003c/em\u003e, 1924\u003c/p\u003e"}}},{"data":{"id":"19619","type":"guide_stop_item","attributes":{"id":19619,"item_type":"asl","item_language":"en","position":2,"guide_stop_id":14313,"media_id":42824,"created_at":"2019-06-26T11:21:38.711-04:00","updated_at":"2024-06-17T15:53:12.583-04:00","content":"\u003cfigure\u003e\n  \u003cdiv class=\"video-embed-wrapper video-embed-wrapper--youtube\" style=\"aspect-ratio: 16 / 9;\"\u003e\u003cdiv id=\"v-2841fd29-32f0-463b-9213-e8905c635999\" class=\"video-embed video-embed--youtube \" data-id=\"aCwxxL0O6cA\" data-autoplay=\"0\" data-label=\"George Bellows, Dempsey and Firpo, 1924 | Video in American Sign Language\" data-loop=\"0\" data-muted=\"0\"\u003e\u003c/div\u003e\u003cdiv class=\"video-embed__preview\" style=\"background-image: url(https://i.ytimg.com/vi/aCwxxL0O6cA/maxresdefault.jpg);\"\u003e\u003c/div\u003e\u003cbutton class=\"video-embed__play\" type=\"button\" aria-label=\"play\"\u003e\u003c/button\u003e\u003c/div\u003e\n\n\u003c/figure\u003e","file":{"url":null},"media_type":"Video","native_media_html":"\u003cfigure\u003e\n  \u003cdiv class=\"video-embed-wrapper video-embed-wrapper--youtube\" style=\"aspect-ratio: 16 / 9;\"\u003e\u003cdiv id=\"v-b81713df-bf0d-4d4e-85da-68182220f074\" class=\"video-embed video-embed--youtube \" data-id=\"aCwxxL0O6cA\" data-autoplay=\"0\" data-label=\"George Bellows, Dempsey and Firpo, 1924 | Video in American Sign Language\" data-loop=\"0\" data-muted=\"0\"\u003e\u003c/div\u003e\u003cdiv class=\"video-embed__preview\" style=\"background-image: url(https://i.ytimg.com/vi/aCwxxL0O6cA/maxresdefault.jpg);\"\u003e\u003c/div\u003e\u003cbutton class=\"video-embed__play\" type=\"button\" aria-label=\"play\"\u003e\u003c/button\u003e\u003c/div\u003e\n\n\u003c/figure\u003e"}}},{"data":{"id":"20277","type":"guide_stop_item","attributes":{"id":20277,"item_type":"audio","item_language":"en","position":3,"guide_stop_id":14313,"media_id":61207,"created_at":"2025-01-07T11:33:29.705-05:00","updated_at":"2025-01-07T11:40:51.072-05:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e\u0026nbsp;In 1923, artist George Bellows’ attended a boxing match on assignment for the\u0026nbsp;New York Evening Journal. He made several drawings, on which this painting is based. The late writer George Plimpton described the painting.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eGeorge Plimpton\u003c/strong\u003e:\u0026nbsp;It shows Firpo, the Argentinian boxer--quite untutored, almost an amateur—in what is considered one of the most dramatic moments in fistic history, namely knocking the champion, Jack Dempsey, through the ropes. Dempsey was destroying Firpo when Firpo hit him with this left, as you can see and knocked him through the ropes. Dempsey was a killer. He was referred to as the Manassa Mauler. and simply destroyed people in the ring with him. It's the sort of painting that I think photography really does now.\u0026nbsp;\u003c/p\u003e\u003cp\u003eIt's overdramatic, this picture Dempsey was not a popular champion at all. He was famous for hitting low blows, hitting fighters when they were rising from the canvas. On this particular fight in the Polo Grounds everybody's sitting there—Babe Ruth, all these people, dignitaries. Great courses of booze. And I think they really wanted Firpo, this great amateur, to take him out. He was that unpopular, Dempsey was. Somewhat romanticized here, in Bellows' painting. Firpo looking like sort of a great god, looking indestructible tree-like limbs there, legs. And Dempsey of course looked like a beetle falling out of a tree here. But that wasn't the way it turned out, at all.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e The fight lasted only four minutes—and Dempsey was declared the winner. But the moment that became boxing legend was the one commemorated in this painting, when Firpo knocked Dempsey out of the ring.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/3386/7XX_ENG_Bellows_Dempsey_and_Firpo.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eGeorge Bellows, \u003cem\u003eDempsey and Firpo\u003c/em\u003e, 1924\u003c/p\u003e"}}}]}}},{"data":{"id":"14314","type":"guide_stop","attributes":{"id":14314,"title":"Robert Henri, \u003cem\u003eGertrude Vanderbilt Whitney\u003c/em\u003e, 1916","title_es":"","stop_number":"702","position":3,"primary_media_id":10076,"guide_id":52,"created_at":"2023-10-17T17:05:07.316-04:00","updated_at":"2025-05-02T11:49:09.838-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/788309/86_70_3_henrir_forweb.jpg","small":{"url":"https://whitneymedia.org/assets/image/788309/small_86_70_3_henrir_forweb.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/788309/medium_86_70_3_henrir_forweb.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/788309/large_86_70_3_henrir_forweb.jpg"}},"cover_media_html":"\u003cimg alt=\"A portrait of Gertrude Vanderbilt Whitney lounging on a couch.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 2340 / 1618 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/788309/small_86_70_3_henrir_forweb.jpg 512w, https://whitneymedia.org/assets/image/788309/medium_86_70_3_henrir_forweb.jpg 1024w, https://whitneymedia.org/assets/image/788309/large_86_70_3_henrir_forweb.jpg 2048w\" src=\"https://whitneymedia.org/assets/image/788309/large_86_70_3_henrir_forweb.jpg\" /\u003e","cover_media_description":"\u003cp\u003eRobert Henri, \u003cem\u003eGertrude Vanderbilt Whitney\u003c/em\u003e, 1916. Oil on canvas, 49 15/16 × 72in. (126.8 × 182.9 cm). Whitney Museum of American Art, New York; gift of Flora Whitney Miller 86.70.3\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19620","type":"guide_stop_item","attributes":{"id":19620,"item_type":"kids","item_language":"en","position":1,"guide_stop_id":14314,"media_id":46009,"created_at":"2019-12-05T10:46:12.889-05:00","updated_at":"2020-06-09T16:02:03.080-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eThis is a portrait of Gertrude Vanderbilt Whitney. She was an artist, and the founder of the Whitney Museum. Robert Henri made this painting in 1916—over a hundred years ago. Think about the choices that Whitney and Henri made about how she appears here. For one thing, she’s looking at us very directly. She rests on the sofa with a sense of ease—and she’s wearing elegant silk pajamas. At the time, she would have looked like a very modern woman. In fact, she looked too modern for her husband, who thought it was scandalous that she had herself depicted wearing pants! He wouldn’t let her hang the painting in their mansion uptown. Instead, she displayed it in her studio in Greenwich Village.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2534/ENG_702_Henri_KIDS.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eRobert Henri, \u003cem\u003eGertrude Vanderbilt Whitney\u003c/em\u003e, 1916\u003c/p\u003e"}}}]}}},{"data":{"id":"14505","type":"guide_stop","attributes":{"id":14505,"title":"Madeline Shiff, \u003cem\u003eWiltz at Work\u003c/em\u003e, 1932\u0026nbsp;","title_es":"","stop_number":"703","position":4,"primary_media_id":59004,"guide_id":52,"created_at":"2024-06-13T16:06:15.861-04:00","updated_at":"2025-05-02T11:49:09.899-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/830578/RS9549_32_51_cropped.jpg","small":{"url":"https://whitneymedia.org/assets/image/830578/small_RS9549_32_51_cropped.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/830578/medium_RS9549_32_51_cropped.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/830578/large_RS9549_32_51_cropped.jpg"}},"cover_media_html":"\u003cimg alt=\"A man in a red shirt and blue pants leans over a stool in a blue-walled room, painting a landscape on an easel.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 1591 / 1933 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/830578/small_RS9549_32_51_cropped.jpg 512w, https://whitneymedia.org/assets/image/830578/medium_RS9549_32_51_cropped.jpg 1024w, https://whitneymedia.org/assets/image/830578/large_RS9549_32_51_cropped.jpg 1591w\" src=\"https://whitneymedia.org/assets/image/830578/large_RS9549_32_51_cropped.jpg\" /\u003e","cover_media_description":"\u003cp\u003eShiff, Madeline, \u003cem\u003eWiltz at Work,\u0026nbsp;\u003c/em\u003e1932. Oil on canvas, Overall: 18 × 15in. (45.7 × 38.1 cm). Whitney Museum of American Art, New York; Purchase 32.51\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19981","type":"guide_stop_item","attributes":{"id":19981,"item_type":"verbal_description","item_language":"en","position":1,"guide_stop_id":14505,"media_id":59005,"created_at":"2024-06-13T16:06:14.016-04:00","updated_at":"2024-06-13T16:06:14.377-04:00","content":"\u003cp\u003e\u003cem\u003eWiltz at Work\u003c/em\u003e\u0026nbsp;is a painting by Madeline Shiff that is 18 inches tall and 15 inches wide. Shiff portrays her husband, painter Arnold Wiltz, with his easel in the center of a small, windowless painting studio. Wiltz is shown from behind sitting on a wooden stool, bent over a small light wooden table to his left in the act of mixing paint. Resting on the easel is a green landscape painting featuring a body of water and a bare tree in the foreground. The natural world depicted inside Wiltz’s painting is in contrast to his relatively blank and windowless surroundings.\u003c/p\u003e\u003cp\u003eThe nearly empty room has warm, orange-brown wood floors and blue-gray walls. The back wall is a pentagonal shape, symmetrically framing Wiltz and his canvas in a manner that emphasizes the compact size and barrenness of the studio. The only other objects in the room are the stool Wiltz sits on, his table, and an empty frame leaning against the back wall. Wiltz’s clothes, blue pants and an orange shirt and socks, mirror the colors of the space; the limited color palette adds to the illustration-like quality of Shiff’s painting style and the restricted feeling that she creates in her depiction of this studio. The room’s undecorated walls have a dynamic texture comprising various shades of muted blue and gray paint. This simple, yet painterly wall is punctuated by the vivid landscape painting and the top of the easel.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/3267/Madeline_Shiff_Wiltz_at_Work_Verbal_Description.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eMadeline Shiff, \u003cem\u003eWiltz at Work\u003c/em\u003e, 1932\u0026nbsp;\u003c/p\u003e"}}}]}}},{"data":{"id":"14703","type":"guide_stop","attributes":{"id":14703,"title":"Elizabeth Catlett,\u0026nbsp;\u003cem\u003eHead\u003c/em\u003e, 1947","title_es":"Elizabeth Catlett, \u003cem\u003eHead\u003c/em\u003e, 1947","stop_number":"711","position":5,"primary_media_id":28376,"guide_id":52,"created_at":"2025-03-20T11:21:42.004-04:00","updated_at":"2025-05-02T11:49:09.920-04:00","cover_media_file":null,"cover_media_html":"\u003cimg class=\"image\" alt=\"A portrait bust of a Black woman, her face lifted slightly towards the sky\" style=\"aspect-ratio: 1970 / 2177 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/artwork/44134/small_2013_103_vw4_cropped.jpg 512w, https://whitneymedia.org/assets/artwork/44134/2013_103_vw4_cropped.jpg 1024w\" src=\"https://whitneymedia.org/assets/artwork/44134/2013_103_vw4_cropped.jpg\" /\u003e","cover_media_description":"\u003cp\u003eElizabeth Catlett, \u003cem\u003eHead\u003c/em\u003e, 1947. Terracotta, overall: 10 3/4 × 6 1/2 × 8 3/4 in. (27.3 × 16.5 × 22.2 cm). Whitney Museum of American Art, New York; purchase, with funds from the Jack E. Chachkes Purchase Fund, the +6\u003cbr\u003eSchmidt Shubert Purchase Fund, and the Wilfred P. and Rose J. Cohen Purchase Fund in memory of Cecil Joseph Weekes 2013.103. © Catlett Mora Family Trust / Licensed by VAGA at Artists Rights Society (ARS), New York\u003c/p\u003e","guide_stop_items":[{"data":{"id":"20383","type":"guide_stop_item","attributes":{"id":20383,"item_type":"audio","item_language":"en","position":1,"guide_stop_id":14703,"media_id":1147,"created_at":"2017-04-07T18:58:53.000-04:00","updated_at":"2020-02-28T17:59:59.070-05:00","content":"\u003cp\u003e\u003cstrong\u003eDana Miller:\u0026nbsp;\u003c/strong\u003eThis work by the artist Elizabeth Catlett is from 1947.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eDana Miller, former curator of the permanent collection at the Whitney.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDana Miller:\u0026nbsp;\u003c/strong\u003eShe made this work in Mexico, shortly after she moved there to work on a fellowship. This work was made using a terracotta coil technique that was something she learned in Mexico shortly after she arrived, and was an indigenous form of art-making. And for Catlett, I think that was important. She often wanted to look towards this sort of indigenous and local way of making art as a means of inspiration. And for us, this sculpture is just so simple in it’s sort of content, but yet it conveys such depth of feeling. And the planes of the face are just so incredibly beautiful when the light hits them in a certain way.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e Catlett studied art at Howard University, and then at the University of Iowa. There, she worked with the painter Grant Wood.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDana Miller:\u0026nbsp;\u003c/strong\u003eAnd it was Wood who had a tremendous impact on her. And he encouraged her to paint and sculpt and depict what she knew. And for her that was the experience of being an African American woman. And so much of her output focuses on a very beautiful, sort of dignified archetype of an African American woman.\u0026nbsp;\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1185/711_ENGLISH_Catlett_Head_edited.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eElizabeth Catlett, \u003cem\u003eHead\u003c/em\u003e, 1947\u003c/p\u003e"}}},{"data":{"id":"20384","type":"guide_stop_item","attributes":{"id":20384,"item_type":"audio","item_language":"es","position":2,"guide_stop_id":14703,"media_id":42705,"created_at":"2019-06-17T14:22:47.250-04:00","updated_at":"2020-06-09T16:02:05.701-04:00","content":"\u003cp\u003e\u003cstrong\u003eDana Miller:\u0026nbsp;\u003c/strong\u003eEsta obra de la artista Elizabeth Catlett es de 1947.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrador:\u0026nbsp;\u003c/strong\u003eDana Miller, excuradora de la colección permanente en el Whitney.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDana Miller:\u0026nbsp;\u003c/strong\u003eElla hizo esta obra en México, poco después de mudarse allí para trabajar con una beca. Esta obra se hizo con una técnica de rollos de terracota, algo que aprendió en México al poco tiempo de llegar, y que era una forma de arte indígena. Y para Catlett, eso era algo importante. Ella buscaba ver estos métodos indígenas y autóctonos de hacer arte como un medio de inspiración. Y para nosotros, esta escultura es algo tan sencillo en cuanto a contenido, pero que transmite sentimientos tan profundos. Y cuando la luz les da de una manera particular, los planos del rostro son tan increíblemente bellos.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrador:\u0026nbsp;\u003c/strong\u003eCatlett estudió artes en la Universidad Howard, y luego en la Universidad de Iowa. Allí trabajó con el pintor Grant Wood.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDana Miller:\u0026nbsp;\u003c/strong\u003eY fue Wood quien tuvo una enorme influencia en ella. Él la incentivó a pintar, esculpir y representar lo que ella conocía. Y para ella, la experiencia de ser una mujer afroamericana consistía en eso. Gran parte de su creación se enfoca en un arquetipo de mujer afroamericana bellísimo y dignificado.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2462/711_SPANISH_Elizabeth_Catlett__Head__1947__1_.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eElizabeth Catlett, \u003cem\u003eHead\u003c/em\u003e, 1947\u003c/p\u003e"}}}]}}},{"data":{"id":"14302","type":"guide_stop","attributes":{"id":14302,"title":"Joseph Stella, \u003cem\u003eThe Brooklyn Bridge: Variation on an Old Theme\u003c/em\u003e, 1939","title_es":"Joseph Stella,\u003cem\u003e\u0026nbsp;The Brooklyn Bridge: Variation on an Old Theme,\u003c/em\u003e 1939","stop_number":"720","position":6,"primary_media_id":42148,"guide_id":52,"created_at":"2023-10-17T17:05:07.127-04:00","updated_at":"2025-05-02T11:49:09.943-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/823254/42_15_cropped.jpg","small":{"url":"https://whitneymedia.org/assets/image/823254/small_42_15_cropped.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/823254/medium_42_15_cropped.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/823254/large_42_15_cropped.jpg"}},"cover_media_html":"\u003cimg alt=\"An angular painting of the Brooklyn Bridge, looking up towards the tower. The perspective is unrealistic, and almost abstract, and filled with blues and greens and grays.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 1982 / 3355 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/823254/small_42_15_cropped.jpg 512w, https://whitneymedia.org/assets/image/823254/medium_42_15_cropped.jpg 1024w, https://whitneymedia.org/assets/image/823254/large_42_15_cropped.jpg 1982w\" src=\"https://whitneymedia.org/assets/image/823254/large_42_15_cropped.jpg\" /\u003e","cover_media_description":"\u003cp\u003eJoseph Stella, \u003cem\u003eThe Brooklyn Bridge: Variation on an Old Theme\u003c/em\u003e, 1939. Oil on canvas, overall: 70 1/4 × 42 3/16 in. (178.4 × 107.2 cm). Whitney Museum of American Art, New York; Purchase 42.15\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19583","type":"guide_stop_item","attributes":{"id":19583,"item_type":"kids","item_language":"es","position":1,"guide_stop_id":14302,"media_id":2860,"created_at":"2017-07-06T13:59:14.000-04:00","updated_at":"2023-08-10T12:38:39.660-04:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eNarrador:\u003c/strong\u003e\u003cspan\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003eEl artista Joseph Stella se mudó a Estados Unidos desde un pueblito de Italia y se enamoró de los rascacielos, los trenes subterráneos y los puentes de la ciudad de Nueva York. ¡Eran tan impresionantes! Stella pintó el Puente de Brooklyn en varias ocasiones a lo largo de los años y lo visitó como si fuera un viejo amigo.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEn esta obra, el artista captura los inmensos cables, las luces parpadeantes, el tráfico bullicioso y las vistas espectaculares de su querido puente.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003eImaginen que acaban de entrar dentro de la pintura, quizás junto a alguien que nunca antes ha visitado Nueva York. Este grandioso puente parece casi vibrar de energía. Miren a su alrededor. Observen la ciudad parpadeando delante de ustedes. Fíjense en los distintos tipos de luces que Stella añadió en la parte superior y entre las aberturas del puente. Es posible que les recuerden a las estrellas que hay en el cielo. O quizás a los faros delanteros de los autos que cruzan el puente a toda velocidad o a las luces brillantes de los teatros de Broadway.\u003c/span\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1939/713__Joseph_Stella__The_Brooklyn_Bridge__Variation_on_an_Old_Theme__1939.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJoseph Stella,\u003cem\u003e\u0026nbsp;The Brooklyn Bridge: Variation on an Old Theme\u003c/em\u003e, 1939\u003c/p\u003e"}}},{"data":{"id":"19584","type":"guide_stop_item","attributes":{"id":19584,"item_type":"kids","item_language":"en","position":2,"guide_stop_id":14302,"media_id":42632,"created_at":"2019-06-04T16:39:18.475-04:00","updated_at":"2025-06-25T14:39:37.537-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e Artist Joseph Stella moved to America from a small village in Italy and fell in love with the skyscrapers, subways, and bridges of New York City. They were all so impressive! Stella painted the Brooklyn Bridge several times over the years, visiting it like an old friend.\u0026nbsp;\u003c/p\u003e\u003cp\u003eHere, he captures its sweeping cables, glittering lights, bustling traffic, and spectacular views. Imagine that you've just stepped into the painting—maybe with someone who’s never seen New York City before. This massive bridge is almost shaking with energy. Look around. Find the city sparkling ahead of you. Notice the different types of lights Stella added to the top and in between the openings of the bridge. They might remind you of the stars above. Or maybe the headlights of cars rushing across the bridge, or the bright lights of theater on Broadway.\u0026nbsp;\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2455/720_ENGLISH_KIDS_Stella_Joseph_2017_Where_We_Are_The_Brooklyn_Bridge_42_15_KIDS.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJoseph Stella, \u003cem\u003eThe Brooklyn Bridge: Variation on an Old Theme\u003c/em\u003e, 1939\u003c/p\u003e"}}},{"data":{"id":"19585","type":"guide_stop_item","attributes":{"id":19585,"item_type":"asl","item_language":"en","position":3,"guide_stop_id":14302,"media_id":36802,"created_at":"2018-02-21T17:18:36.000-05:00","updated_at":"2024-12-23T14:32:19.096-05:00","content":"\u003cfigure\u003e\n  \u003cdiv class=\"video-embed-wrapper video-embed-wrapper--youtube\" style=\"aspect-ratio: 16 / 9;\"\u003e\u003cdiv id=\"v-2e6b9f8c-b54a-4346-a951-1b09638c6326\" class=\"video-embed video-embed--youtube \" data-id=\"Z2xYDpigv60\" data-autoplay=\"0\" data-label=\"Joseph Stella, The Brooklyn Bridge: Variation on an Old Theme | Video in American Sign Language\" data-loop=\"0\" data-muted=\"0\"\u003e\u003c/div\u003e\u003cdiv class=\"video-embed__preview\" style=\"background-image: url(https://i.ytimg.com/vi/Z2xYDpigv60/maxresdefault.jpg);\"\u003e\u003c/div\u003e\u003cbutton class=\"video-embed__play\" type=\"button\" aria-label=\"play\"\u003e\u003c/button\u003e\u003c/div\u003e\n\n\u003c/figure\u003e","file":{"url":null},"media_type":"Video","native_media_html":"\u003cfigure\u003e\n  \u003cdiv class=\"video-embed-wrapper video-embed-wrapper--youtube\" style=\"aspect-ratio: 16 / 9;\"\u003e\u003cdiv id=\"v-8ac79a30-462e-4547-96a4-db76f9ed7ea0\" class=\"video-embed video-embed--youtube \" data-id=\"Z2xYDpigv60\" data-autoplay=\"0\" data-label=\"Joseph Stella, The Brooklyn Bridge: Variation on an Old Theme | Video in American Sign Language\" data-loop=\"0\" data-muted=\"0\"\u003e\u003c/div\u003e\u003cdiv class=\"video-embed__preview\" style=\"background-image: url(https://i.ytimg.com/vi/Z2xYDpigv60/maxresdefault.jpg);\"\u003e\u003c/div\u003e\u003cbutton class=\"video-embed__play\" type=\"button\" aria-label=\"play\"\u003e\u003c/button\u003e\u003c/div\u003e\n\n\u003c/figure\u003e"}}},{"data":{"id":"19586","type":"guide_stop_item","attributes":{"id":19586,"item_type":"audio","item_language":"en","position":4,"guide_stop_id":14302,"media_id":2807,"created_at":"2017-07-05T14:32:03.000-04:00","updated_at":"2020-02-28T18:17:15.464-05:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eArtist Joseph Stella first saw the Brooklyn Bridge when he arrived in New York from a small town in southern Italy. He was struck by the technological wonders of the city. The bridge was an iconic symbol of the possibilities of the new world—simultaneously grand and frightening. Many nights, Stella visited the vast expanse of the bridge’s walkway. He later wrote, “I felt deeply moved, as if on the threshold of a new religion.”\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003eHenri Petroski is the Aleksandar S. Vesic Professor of Civil Engineering at Duke University.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eHenri Petroski:\u003c/strong\u003e\u003c/span\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eThe cables that dominate this picture are the suspension cables. The Brooklyn Bridge was really a ground-breaking suspension bridge. It was designed by John Roebling, the civil engineer who wanted to connect Brooklyn and New York, which were then separate cities across the East River.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003eStella's perspective is essentially the impression you get as you walk along the bridge. The elevated walkway is cradled in these cables, so you’re caught in this net of cables and wires and it’s really a very spectacular setting.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Brooklyn Bridge walkway provides one of the classic walks in the world. To walk across the bridge and to approach Manhattan at a walking pace is something that is hard to reproduce anywhere else. It gives you ample time to reflect upon the magnitude of the city, the achievements of the engineers and architects who made the city what it is. The people walking on the walkway coming towards you, walking with you, also remind you of the real diversity of the city. It’s just a spectacular, spectacular experience.\u003c/span\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1915/713_Joseph_Stella__The_Brooklyn_Bridge__Variation_on_an_Old_Theme__1939.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJoseph Stella, \u003cem\u003eThe Brooklyn Bridge: Variation on an Old Theme\u003c/em\u003e, 1939\u003c/p\u003e"}}},{"data":{"id":"19587","type":"guide_stop_item","attributes":{"id":19587,"item_type":"audio","item_language":"es","position":5,"guide_stop_id":14302,"media_id":2852,"created_at":"2017-07-06T13:14:18.000-04:00","updated_at":"2025-06-25T15:26:59.606-04:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eNarrador:\u003c/strong\u003e \u003cspan\u003eEl artista Joseph Stella vio por primera vez el Puente de Brooklyn cuando llegó a Nueva York desde un pueblito del sur de Italia. Al principio, lo asombraron las maravillas tecnológicas de la ciudad. El puente era un símbolo emblemático de las posibilidades que ofrecía el nuevo mundo: grandiosas y aterradoras al mismo tiempo. Muchas noches Stella visitaba la vasta extensión de la pasarela peatonal del puente. Más tarde escribió: “Me conmovió profundamente, como si me encontrara en el umbral de una nueva religión”.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003eHenry Petroski es Profesor de Ingeniería Civil Aleksandar S. Vesic de la Universidad Duke.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eHenry Petroski:\u003c/strong\u003e\u003c/span\u003e \u003cspan\u003eLos cables que dominan el cuadro son los cables de suspensión. El Puente de Brooklyn fue un puente de suspensión realmente innovador. Fue diseñado por John Roebling, el ingeniero civil que quiso conectar Brooklyn con Nueva York, dos ciudades separadas por el río Este.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003eLa perspectiva de Stella es, fundamentalmente, la impresión que \u0026nbsp;uno tiene cuando cruza el puente caminando. La pasarela peatonal elevada está envuelta en estos cables, así que uno se encuentra inmerso en una red de cables y alambres, y es realmente un entorno muy espectacular.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLa pasarela del Puente de Brooklyn es una de los paseos más emblemáticos del mundo. Cruzar el puente a pie y acercarse a Manhattan andando es algo que es difícil de reproducir en cualquier otra parte. Permite reflexionar sobre la magnitud de la ciudad, sobre los logros de los ingenieros y arquitectos que han hecho de esta ciudad lo que es hoy. La gente que camina por la pasarela en sentido contrario o en el mismo sentido que uno también sirve de recordatorio de la gran diversidad de la ciudad. Sin duda es una experiencia sencillamente espectacular.\u003c/span\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1931/713_Joseph_Stella__The_Brooklyn_Bridge__Variation_on_an_Old_Theme__1939.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJoseph Stella,\u003cem\u003e\u0026nbsp;The Brooklyn Bridge: Variation on an Old Theme,\u003c/em\u003e 1939\u003c/p\u003e"}}}]}}},{"data":{"id":"14303","type":"guide_stop","attributes":{"id":14303,"title":"Elsie Driggs, \u003cem\u003ePittsburgh\u003c/em\u003e, 1927","title_es":"Elsie Driggs, \u003cem\u003ePittsburgh\u003c/em\u003e, 1927","stop_number":"721","position":7,"primary_media_id":12116,"guide_id":52,"created_at":"2023-10-17T17:05:07.153-04:00","updated_at":"2025-05-02T11:49:09.988-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/817921/16_Driggs_Elsie_Pittsburgh_31_177.jpg","small":{"url":"https://whitneymedia.org/assets/image/817921/small_16_Driggs_Elsie_Pittsburgh_31_177.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/817921/medium_16_Driggs_Elsie_Pittsburgh_31_177.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/817921/large_16_Driggs_Elsie_Pittsburgh_31_177.jpg"}},"cover_media_html":"\u003cimg alt=\"Close up view of smokestacks\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 732 / 630 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/817921/small_16_Driggs_Elsie_Pittsburgh_31_177.jpg 512w, https://whitneymedia.org/assets/image/817921/medium_16_Driggs_Elsie_Pittsburgh_31_177.jpg 732w\" src=\"https://whitneymedia.org/assets/image/817921/large_16_Driggs_Elsie_Pittsburgh_31_177.jpg\" /\u003e","cover_media_description":"\u003cp\u003eElsie Driggs, \u003cem\u003ePittsburgh\u003c/em\u003e, 1927. Oil on canvas, 34 1/4 × 40 1/4 in. (87 × 102.2 cm). Whitney Museum of American Art; gift of Gertrude Vanderbilt Whitney 31.177. © Estate of Elsie Driggs\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19588","type":"guide_stop_item","attributes":{"id":19588,"item_type":"audio","item_language":"es","position":1,"guide_stop_id":14303,"media_id":2904,"created_at":"2017-07-10T16:10:41.000-04:00","updated_at":"2020-02-28T18:17:19.731-05:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eNarrador:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;La fábrica que vemos en esta pintura pareciera ominosa. Observe los cuatro cilindros negros que hay en el centro. Son chimeneas, y las líneas delgadas que pueblan el aire a su alrededor son cables de soporte. Si se las considera solo como figuras geométricas, pueden resultar bellas. Pero, como imagen de la industrialización, resultan sombrías y amenazadoras. Sugieren que no todo anda bien en el mundo feliz de la tecnología. Nubes de humo tóxico se elevan desde el extremo inferior del cuadro y atraviesan el cielo.\u003c/span\u003e\u0026nbsp;\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLa artista, Elsie Driggs vio esta fábrica, una fábrica de acero en Pittsburgh, cuando de niña hizo un viaje en tren. Regresó en 1927 para realizar esta pintura, pero los dueños de la acerería le negaron la entrada. Temían que fuera una agitadora laboral. Además, añadieron, las fábricas no son lugar para una mujer. Más tarde, Driggs recordaría: “Pero cuando ellos decidieron que yo no representaba peligro alguno, ya había perdido interés por entrar. Sin embargo, una noche, al regresar a la casa de huéspedes donde me alojaba, descubrí el ángulo para mi pintura. Las formas estaban tan cerca. Las contemplé mientras me decía a mí misma: \"Esto no debería de ser bello, pero lo es.\"\u003c/span\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1969/741_Elsie_Driggs__Pittsburgh__1927.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eElsie Driggs, \u003cem\u003ePittsburgh\u003c/em\u003e, 1927\u003c/p\u003e"}}},{"data":{"id":"19589","type":"guide_stop_item","attributes":{"id":19589,"item_type":"kids","item_language":"en","position":2,"guide_stop_id":14303,"media_id":1523,"created_at":"2017-04-24T15:50:41.000-04:00","updated_at":"2023-10-25T10:29:07.993-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e Cough, cough, splutter, choke. It’s a little hard to breathe here, outside the factory.\u003c/p\u003e\u003cp\u003eElsie Driggs made this somber painting of one of the many steel mills in Pittsburgh, Pennsylvania. She liked the cylinder shapes of the chimneys and tubes and thought they had a “cool and classical” beauty. But she wasn't allowed to look inside the factory—the owners told her it was no place for a woman. Instead she found a view from a hill just above the mills. What do you think about that?\u003c/p\u003e\u003cp\u003eTake a look at the colors that Driggs used to make this painting. Why do you think she chose them? What kind of environment is Driggs showing you? It’s pretty dirty, right? But when Driggs made the painting, people didn’t realize what a problem pollution was going to cause. For her, this scene was beautiful.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1804/04_741_-_Elsie_Driggs__Pittsburgh__1927.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eElsie Driggs, \u003cem\u003ePittsburgh\u003c/em\u003e, 1927\u003c/p\u003e"}}},{"data":{"id":"19590","type":"guide_stop_item","attributes":{"id":19590,"item_type":"asl","item_language":"en","position":3,"guide_stop_id":14303,"media_id":36801,"created_at":"2018-02-21T17:14:05.000-05:00","updated_at":"2024-12-23T14:32:19.236-05:00","content":"\u003cfigure\u003e\n  \u003cdiv class=\"video-embed-wrapper video-embed-wrapper--youtube\" style=\"aspect-ratio: 16 / 9;\"\u003e\u003cdiv id=\"v-7aebf23b-f090-44a5-a9b5-15bd952dbcf8\" class=\"video-embed video-embed--youtube \" data-id=\"vMN7eIyHH5o\" data-autoplay=\"0\" data-label=\"Elsie Driggs, Pittsburgh | Video in American Sign Language\" data-loop=\"0\" data-muted=\"0\"\u003e\u003c/div\u003e\u003cdiv class=\"video-embed__preview\" style=\"background-image: url(https://i.ytimg.com/vi/vMN7eIyHH5o/maxresdefault.jpg);\"\u003e\u003c/div\u003e\u003cbutton class=\"video-embed__play\" type=\"button\" aria-label=\"play\"\u003e\u003c/button\u003e\u003c/div\u003e\n\n\u003c/figure\u003e","file":{"url":null},"media_type":"Video","native_media_html":"\u003cfigure\u003e\n  \u003cdiv class=\"video-embed-wrapper video-embed-wrapper--youtube\" style=\"aspect-ratio: 16 / 9;\"\u003e\u003cdiv id=\"v-ad748e19-09d0-4102-94d5-c9badd812e11\" class=\"video-embed video-embed--youtube \" data-id=\"vMN7eIyHH5o\" data-autoplay=\"0\" data-label=\"Elsie Driggs, Pittsburgh | Video in American Sign Language\" data-loop=\"0\" data-muted=\"0\"\u003e\u003c/div\u003e\u003cdiv class=\"video-embed__preview\" style=\"background-image: url(https://i.ytimg.com/vi/vMN7eIyHH5o/maxresdefault.jpg);\"\u003e\u003c/div\u003e\u003cbutton class=\"video-embed__play\" type=\"button\" aria-label=\"play\"\u003e\u003c/button\u003e\u003c/div\u003e\n\n\u003c/figure\u003e"}}},{"data":{"id":"19591","type":"guide_stop_item","attributes":{"id":19591,"item_type":"audio","item_language":"en","position":4,"guide_stop_id":14303,"media_id":1144,"created_at":"2017-04-07T18:58:45.000-04:00","updated_at":"2023-10-25T10:25:48.342-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eThe factory you see in this painting seems ominous. Look at the four dark cylinders in the center. These are smokestacks, and the thin lines that fill the air around them are support cables. If you think of them only as geometric shapes, they might be beautiful. But as an image of industrialization, they’re gloomy and menacing. They suggest that all is not well in the brave new world of technology. Clouds of toxic fumes drift up from the bottom of the painting and across the sky.\u003c/p\u003e\u003cp\u003eThe artist, Elsie Driggs, saw this factory, a Pittsburgh steel mill, on a train trip she took as a child. When she went back in l927 to make a painting, the owners of the mill refused to let her in. They were afraid she was a labor agitator. Anyway, they said, a factory was no place for a woman. Driggs later recalled, “By the time they decided I was harmless, I didn't care if I went in there anymore. But walking up toward my boarding house one night, I found my view. The forms were so close. And I stared at it and told myself, \"This shouldn't be beautiful. But it is.\"\u0026nbsp;\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1182/823_-_elise_driggs_pittsburgh_1927.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eElsie Driggs, \u003cem\u003ePittsburgh\u003c/em\u003e, 1927\u003c/p\u003e"}}}]}}},{"data":{"id":"14304","type":"guide_stop","attributes":{"id":14304,"title":"Charles Demuth, \u003cem\u003eMy Egypt\u003c/em\u003e, 1927","title_es":"Charles Demuth, \u003cem\u003eMy Egypt\u003c/em\u003e, 1927","stop_number":"722","position":8,"primary_media_id":11830,"guide_id":52,"created_at":"2023-10-17T17:05:07.171-04:00","updated_at":"2025-05-02T11:49:10.029-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/817457/modernlife004_667.jpg","small":{"url":"https://whitneymedia.org/assets/image/817457/small_modernlife004_667.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/817457/medium_modernlife004_667.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/817457/large_modernlife004_667.jpg"}},"cover_media_html":"\u003cimg alt=\"Large industrial building with rays of light crossing it.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 667 / 800 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/817457/small_modernlife004_667.jpg 512w, https://whitneymedia.org/assets/image/817457/medium_modernlife004_667.jpg 667w\" src=\"https://whitneymedia.org/assets/image/817457/large_modernlife004_667.jpg\" /\u003e","cover_media_description":"\u003cp\u003eCharles Demuth, \u003cem\u003eMy Egypt\u003c/em\u003e, 1927. Oil and graphite pencil on fiberboard, 35 3/4 × 30 in. (90.81 x 76.2 cm). Whitney Museum of American Art, New York; Purchase, with funds from Gertrude Vanderbilt Whitney 31.172\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19592","type":"guide_stop_item","attributes":{"id":19592,"item_type":"audio","item_language":"es","position":1,"guide_stop_id":14304,"media_id":2854,"created_at":"2017-07-06T13:20:45.000-04:00","updated_at":"2020-02-28T18:07:46.634-05:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eAdam Weinberg:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;Enormes elevadores de grano de hormigón se elevan en el centro de esta pintura de Charles Demuth.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eNarrador:\u003c/strong\u003e\u003cspan\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003eAdam Weinberg es Director Alice Pratt Brown del Whitney Museum.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eAdam Weinberg:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;A la derecha se observa una chimenea casi elegante; la columna de humo que emana de ella apenas tiñe el cielo azul y despejado. En el extremo inferior izquierdo, una chimenea pequeña sugiere la presencia de techos de edificios empequeñecidos por la estructura de hormigón que se erige detrás de ellos, como si los silos gigantes empujaran a las estructuras más antiguas hasta el borde del lienzo.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e¿Qué nos dice la representación de estos elevadores de granos acerca de la ideología que los sustentan? La imagen, extrañamente estéril, está pintada con una precisión semejante a la de una máquina. La superficie de la pintura es tan prístina que apenas se vislumbra alguna pincelada. Tiene una calidad casi fotográfica. Los rayos de luz que dividen el lienzo ponen de relieve el edificio, pero la luz es fría, casi hostil. El título de la pintura proporciona otra pista: se llama \u003cspan\u003e\u003cem\u003eMy Egypt\u003c/em\u003e\u003c/span\u003e. Tanto el título como la monumentalidad de estos elevadores de grano sugieren que Demuth equiparó la arquitectura de la industria estadounidense con los grandes monumentos del pasado, como las pirámides del Antiguo Egipto. En esta pintura podemos apreciar tanto el optimismo como la ansiedad característicos de este periodo.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1933/744_Charles_Demuth__My_Egypt__1927.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eCharles Demuth, \u003cem\u003eMy Egypt\u003c/em\u003e, 1927\u003c/p\u003e"}}},{"data":{"id":"19593","type":"guide_stop_item","attributes":{"id":19593,"item_type":"kids","item_language":"en","position":2,"guide_stop_id":14304,"media_id":1524,"created_at":"2017-04-24T15:54:57.000-04:00","updated_at":"2020-02-28T18:05:54.387-05:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e This building is an unusual subject for a painting. It’s a plain, industrial looking structure. The painter Charles Demuth filled the canvas with dynamic criss-crossing diagonal lines to make it more exciting to look at. He did something similar with the colors. He started with just a few, but made them more interesting by experimenting with different amounts of lightness and darkness in shapes throughout the painting.\u003c/p\u003e\u003cp\u003eBut what kind of building is this? It’s called a grain elevator. In the early 1900s, the family farm began to be replaced by larger scale operations. Trains could move tons and tons of grain, so farmers needed new, modern storage sites. And so the grain elevator came about—and it was more like a factory than a barn. This one was in Lancaster, Pennsylvania, where the artist was born. The building is tipped back slightly, to give the feeling that we are looking up at something huge. By naming the piece\u003cem\u003e My Egypt\u003c/em\u003e Charles Demuth lets us know that this building is as important to him as the great Egyptian pyramids.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1805/05_752_-_Charles_Demuth__My_Egypt__1927.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eCharles Demuth, \u003cem\u003eMy Egypt\u003c/em\u003e, 1927\u003c/p\u003e"}}},{"data":{"id":"19594","type":"guide_stop_item","attributes":{"id":19594,"item_type":"audio","item_language":"en","position":3,"guide_stop_id":14304,"media_id":2809,"created_at":"2017-07-05T14:37:13.000-04:00","updated_at":"2024-08-07T11:07:57.746-04:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eAdam Weinberg:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;Enormous concrete grain elevators loom at the center of this painting by Charles Demuth.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt the right, we see an almost elegant-looking smokestack—its plume of smoke barely discolors the clear blue sky. At the bottom left, a small chimney suggests rooftops of buildings dwarfed by the concrete structure behind them—as if the giant silos are actually pushing the older structures right off the edge of the canvas.\u003c/span\u003e\u003c/p\u003e\u003cp\u003eWhat does the presentation of these grain elevators tell us about the ideology behind them? The image is oddly sterile—painted in a precise, machine-like way. The surface of this painting is so pristine, you can hardly find a single brushstroke. It almost looks like a photograph. Rays of light bifurcating the canvas spotlight the building, but the light is cold, almost harsh. The painting’s title provides another clue—it’s called \u003cspan\u003e\u003cem\u003eMy Egypt\u003c/em\u003e\u003c/span\u003e. The title and the monumentality of these grain elevators suggest that Demuth is placing the architecture of American industry on par with the great monuments of the past, like the pyramids of ancient Egypt. In this painting we can see both the optimism and the anxiety of the period.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1917/722_ENG_Updated_Demuth_My_Egypt.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eCharles Demuth, \u003cem\u003eMy Egypt\u003c/em\u003e, 1927\u003c/p\u003e"}}}]}}},{"data":{"id":"14305","type":"guide_stop","attributes":{"id":14305,"title":"Alexander Calder, \u003cem\u003eCalder’s Circus\u003c/em\u003e, 1926–31","title_es":"Alexander Calder, \u003cem\u003eCalder’s Circus\u003c/em\u003e, 1926–31","stop_number":"730","position":9,"primary_media_id":42656,"guide_id":52,"created_at":"2023-10-17T17:05:07.185-04:00","updated_at":"2025-05-02T11:49:10.058-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/823555/83_36_1-72_vw1_Calder.jpg","small":{"url":"https://whitneymedia.org/assets/image/823555/small_83_36_1-72_vw1_Calder.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/823555/medium_83_36_1-72_vw1_Calder.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/823555/large_83_36_1-72_vw1_Calder.jpg"}},"cover_media_html":"\u003cimg alt=\"A photograph of an intricate sculpture of a circus.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 3000 / 2001 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/823555/small_83_36_1-72_vw1_Calder.jpg 512w, https://whitneymedia.org/assets/image/823555/medium_83_36_1-72_vw1_Calder.jpg 1024w, https://whitneymedia.org/assets/image/823555/large_83_36_1-72_vw1_Calder.jpg 2048w\" src=\"https://whitneymedia.org/assets/image/823555/large_83_36_1-72_vw1_Calder.jpg\" /\u003e","cover_media_description":"\u003cp\u003eAlexander Calder, \u003cem\u003eCalder's Circus\u003c/em\u003e, 1926–1931. Galvanized steel wire, fabric, rhinestones, thread, 13 3/8 × 6 × 8 1/2 in. (34 × 15.2 × 21.6 cm). Whitney Museum of American Art, New York; purchase with funds from a public fundraising campaign in May 1982. One half the funds were contributed by the Robert Wood Johnson Jr. Charitable Trust. Additional major donations were given by The Lauder Foundation; the Robert Lehman Foundation, Inc.; the Howard and Jean Lipman Foundation, Inc.; an anonymous donor; The T. M. Evans Foundation, Inc.; MacAndrews \u0026amp; Forbes Group, Incorporated; the DeWitt Wallace Fund, Inc.; Martin and Agneta Gruss; Anne Phillips; Mr. and Mrs. Laurance S. Rockefeller; the Simon Foundation, Inc.; Marylou Whitney; Bankers Trust Company; \u0026nbsp; Mr. and Mrs. Kenneth N. Dayton; Joel and Anne Ehrenkranz; Irvin and Kenneth Feld; Flora Whitney Miller. More than 500 individuals from 26 states and abroad also contributed to the campaign. 83.36.22.1a‑c. © 2019 Calder Foundation, New York / Artists Rights Society (ARS), New York\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19595","type":"guide_stop_item","attributes":{"id":19595,"item_type":"audio","item_language":"es","position":1,"guide_stop_id":14305,"media_id":42717,"created_at":"2019-06-17T17:07:32.869-04:00","updated_at":"2023-08-09T21:05:48.667-04:00","content":"\u003cp\u003e\u003cstrong\u003eBill Irwin:\u0026nbsp;\u003c/strong\u003eDamas y caballeros, mesdames et messieurs, les damos la bienvenida al circo. A partir de 1926, Calder combinó su fascinación por el movimiento, los animales y la caricatura en \u003cem\u003eLe Cirque Calder\u003c/em\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrador:\u0026nbsp;\u003c/strong\u003eEl actor Bill Irwin.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBill Irwin:\u0026nbsp;\u003c/strong\u003eLo que ven aquí es una serie de actos, cada uno compuesto por diferentes personajes: los acróbatas, una mujer barbuda, un domador de leones y su león. En cada función, Calder operaba las piezas y figuras ante el público, en la misma pista, un acto a la vez.\u0026nbsp;\u003c/p\u003e\u003cp\u003eHacía las gradas con cajones y tablones de madera; alzaba dos postes altos para la cuerda floja y el trapecio; repartía platillos, matracas y otros objetos ruidosos; reproducía discos en el gramófono y brindaba a los invitados un espectáculo nocturno completo. Es lo que podría describirse como la primera instancia de arte interpretativo.\u0026nbsp;\u003c/p\u003e\u003cp\u003eA través de \u003cem\u003eCircus\u003c/em\u003e, Calder entabló buena amistad con una impresionante lista de artistas, como Marcel Duchamp, Joan Miró, Fernand Léger, Edgar Varèse, Le Corbusier y Piet Mondrian. Estos miembros del vanguardismo parisino, el \u003cem\u003eavant-garde\u003c/em\u003e, valoraban el amor de Calder por la interpretación y el espectáculo: una función de \u003cem\u003eCircus\u0026nbsp;\u003c/em\u003eera garantía de pasarse un muy buen rato. Pero los artistas también se veían atraídos por el lado serio de Circus. Una combinación de diversión con muerte y peligro: el lanzador de cuchillos apuntaba a un blanco peligrosamente cerca de su asistente preferida y a veces fallaba; con consecuencias trágicas. Pero Calder acudía a la misma figura femenina en el acto siguiente, un ingenioso toque que el público apreciaba.\u003c/p\u003e\u003cp\u003eDurante las primeras décadas del siglo veinte, los artistas modernistas en toda Europa buscaron maneras de fusionar el arte y la vida, la tecnología y el diseño. Por lúdico que el espectáculo de Calder pueda parecer, ejemplifica estupendamente estos impulsos del vanguardismo. El hecho de que pusiera los objetos en movimiento, el estado característico de la modernidad, no era un detalle menor para ninguno de sus espectadores. Y cada acto individual estaba diseñado con una gran destreza técnica.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2471/730_SPANISH_Alexander_Calder__Calder_s_Circus__1926-31.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eAlexander Calder, \u003cem\u003eCalder’s Circus\u003c/em\u003e, 1926–31\u003c/p\u003e"}}},{"data":{"id":"19596","type":"guide_stop_item","attributes":{"id":19596,"item_type":"kids","item_language":"en","position":2,"guide_stop_id":14305,"media_id":42733,"created_at":"2019-06-18T17:01:59.564-04:00","updated_at":"2020-02-28T18:03:51.113-05:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eWelcome, ladies and gentlemen, Mesdames et messieurs, to the circus!\u003c/p\u003e\u003cp\u003eAlexander Calder built this tiny circus during his years in Paris. He created a complete troupe of performers—from acrobats and animals to clowns and tightrope walkers—using ordinary household materials. Look closely and you’ll see everything from bits of cloth, yarn, and paper to rubber tubes, buttons, and bottle caps.\u003c/p\u003e\u003cp\u003eCalder didn’t design his circus as a three-ring spectacle. It’s more like the intimate, one-ring circuses he saw in France. Now I’d like to introduce two guys who started a traditional, one-ring circus here in New York City. Here’s Michael Christensen, Cofounder and Creative Director of the Big Apple Circus, remembering his circus days in Paris with Founder and Artistic Director Paul Binder.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMichael Christensen:\u0026nbsp;\u003c/strong\u003eWe were a juggling act, a comedy-juggling act. We threw juggling clubs, our hats, our shoes, a rubber chicken, and from time to time a squirting fish named Ronald. Do you remember Ronald?\u003c/p\u003e\u003cp\u003e\u003cstrong\u003ePaul Binder:\u003c/strong\u003e I do. And what was funniest about our act is we started where everybody else left off. We started by dropping things.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMichael Christensen:\u003c/strong\u003e Then once we dropped them—then we had to pick them up.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003ePaul Binder:\u0026nbsp;\u003c/strong\u003eYeah.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMichael Christensen:\u003c/strong\u003e And that wasn't always easy, and there was a lot of comedy to be had in just picking up one club.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003ePaul Binder:\u003c/strong\u003e Or one squirting fish.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMichael Christensen:\u0026nbsp;\u003c/strong\u003eNamed Ronald. Anyway, we found our home in the Nouveau Cirque de Paris. We walked into that ring and felt like home.\u003c/p\u003e\u003cp\u003eAnd there's an image that always stays with me, Paul and I, behind the curtain, Nouveau Cirque de Paris, looking into this wonderful world of the circus, and we look at each other as if we're nine years old, and we say, “Do you believe it?\"\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMichael Christensen and Paul Binder:\u0026nbsp;\u003c/strong\u003eWe're in the circus!\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eWe asked some more stars of the Big Apple Circus to explain what Calder’s performers are up to.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2474/730_ENGLISH_KIDS_Calder_Intro.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eAlexander Calder, \u003cem\u003eCalder’s Circus\u003c/em\u003e, 1926-1931\u003c/p\u003e"}}},{"data":{"id":"19597","type":"guide_stop_item","attributes":{"id":19597,"item_type":"asl","item_language":"en","position":3,"guide_stop_id":14305,"media_id":42825,"created_at":"2019-06-26T11:26:41.069-04:00","updated_at":"2024-06-17T15:53:25.228-04:00","content":"\u003cfigure\u003e\n  \u003cdiv class=\"video-embed-wrapper video-embed-wrapper--youtube\" style=\"aspect-ratio: 16 / 9;\"\u003e\u003cdiv id=\"v-63ea4b76-e1f3-424d-be97-ea7d13fd6971\" class=\"video-embed video-embed--youtube \" data-id=\"eAfvc7fyv2o\" data-autoplay=\"0\" data-label=\"Alexander Calder, Calder’s Circus, 1926-1931 | Video in American Sign Language\" data-loop=\"0\" data-muted=\"0\"\u003e\u003c/div\u003e\u003cdiv class=\"video-embed__preview\" style=\"background-image: url(https://i.ytimg.com/vi/eAfvc7fyv2o/maxresdefault.jpg);\"\u003e\u003c/div\u003e\u003cbutton class=\"video-embed__play\" type=\"button\" aria-label=\"play\"\u003e\u003c/button\u003e\u003c/div\u003e\n\n\u003c/figure\u003e","file":{"url":null},"media_type":"Video","native_media_html":"\u003cfigure\u003e\n  \u003cdiv class=\"video-embed-wrapper video-embed-wrapper--youtube\" style=\"aspect-ratio: 16 / 9;\"\u003e\u003cdiv id=\"v-a5b5a54e-894c-4819-88dd-14bcb2c9d4d0\" class=\"video-embed video-embed--youtube \" data-id=\"eAfvc7fyv2o\" data-autoplay=\"0\" data-label=\"Alexander Calder, Calder’s Circus, 1926-1931 | Video in American Sign Language\" data-loop=\"0\" data-muted=\"0\"\u003e\u003c/div\u003e\u003cdiv class=\"video-embed__preview\" style=\"background-image: url(https://i.ytimg.com/vi/eAfvc7fyv2o/maxresdefault.jpg);\"\u003e\u003c/div\u003e\u003cbutton class=\"video-embed__play\" type=\"button\" aria-label=\"play\"\u003e\u003c/button\u003e\u003c/div\u003e\n\n\u003c/figure\u003e"}}},{"data":{"id":"19598","type":"guide_stop_item","attributes":{"id":19598,"item_type":"audio","item_language":"en","position":4,"guide_stop_id":14305,"media_id":1094,"created_at":"2017-04-07T18:57:04.000-04:00","updated_at":"2020-02-28T18:16:15.185-05:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eActor Bill Irwin.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBill Irwin:\u0026nbsp;\u003c/strong\u003eWelcome, ladies and gentlemen, mes dames et messieurs, to the circus. Beginning in 1926, Calder combined his fascination with movement, animals, and caricature into \u003cem\u003eLe Cirque Calder\u003c/em\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003eWhat you see here are a number of acts, each consisting of different characters—acrobats, a bearded lady, a lion tamer and his lion. When performed, Calder would manipulate the parts and figures before you—in one ring, one act at a time.\u0026nbsp;\u003c/p\u003e\u003cp\u003eHe would make bleachers from wood crates and planks; erect two tall poles for the high wire and trapeze; hand out cymbals and other noisemakers; cue up records on his gramophone and give his guests a full evening’s entertainment. It was what could be described as the first instance of performance art.\u0026nbsp;\u003c/p\u003e\u003cp\u003eThrough the \u003cem\u003eCircus\u003c/em\u003e, Calder became good friends with an impressive list of artists, including Marcel Duchamp, Joan Miró, Fernand Léger, Edgar Varèse, Le Corbusier, and Piet Mondrian. These members of the Parisian avant-garde appreciated Calder’s love of play and spectacle—a performance of the \u003cem\u003eCircus\u003c/em\u003e meant a very good time. But the artists were also drawn to the serious side of the \u003cem\u003eCircus\u003c/em\u003e. Fun mixed with death and danger: the knife thrower aiming to hit a target perilously close to his favorite assistant sometimes missed—with tragic results. But Calder would use the same female figure in the next act, a clever touch his audiences appreciated.\u003c/p\u003e\u003cp\u003eIn the first decades of the twentieth century, modernist artists across Europe were searching for ways to merge art and life, technology and design. As playful as Calder’s performance may seem, it beautifully exemplifies these avant-garde impulses. The fact that he put his objects in motion, the characteristic state of modernity, wouldn’t have been lost on any of his observers. And the individual acts were engineered with a great deal of technical skill.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1122/Calder_Alexander_2015_America_Is_Hard_to_See_Calder_s_Circus_83_36_1-72.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eAlexander Calder, \u003cem\u003eCalder’s Circus\u003c/em\u003e, 1926–31\u003c/p\u003e"}}}]}}},{"data":{"id":"14411","type":"guide_stop","attributes":{"id":14411,"title":"Georgia O'Keeffe, \u003cem\u003eMusic, Pink and Blue No. 2\u003c/em\u003e, 1918","title_es":"","stop_number":"740","position":10,"primary_media_id":7866,"guide_id":52,"created_at":"2023-12-07T15:34:37.234-05:00","updated_at":"2025-05-02T11:49:10.093-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/656990/91_90_OKeeffe.jpg","small":{"url":"https://whitneymedia.org/assets/image/656990/small_91_90_OKeeffe.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/656990/medium_91_90_OKeeffe.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/656990/large_91_90_OKeeffe.jpg"}},"cover_media_html":"\u003cimg class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 2493 / 3011 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/656990/small_91_90_OKeeffe.jpg 512w, https://whitneymedia.org/assets/image/656990/medium_91_90_OKeeffe.jpg 1024w, https://whitneymedia.org/assets/image/656990/large_91_90_OKeeffe.jpg 2048w\" src=\"https://whitneymedia.org/assets/image/656990/large_91_90_OKeeffe.jpg\" /\u003e","cover_media_description":"\u003cp\u003eGeorgia O'Keeffe, \u003cem\u003eMusic, Pink and Blue No. 2\u003c/em\u003e, 1918. Oil on canvas, 35 x 29 15/16 in. (88.9 x 76 cm). Whitney Museum of American Art, New York; gift of Emily Fisher Landau in honor of Tom Armstrong 91.90. © The Georgia O'Keeffe Foundation/Artists Rights Society (ARS), New York\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19795","type":"guide_stop_item","attributes":{"id":19795,"item_type":"audio","item_language":"en","position":1,"guide_stop_id":14411,"media_id":1501,"created_at":"2017-04-20T15:26:16.000-04:00","updated_at":"2020-02-28T18:05:42.004-05:00","content":"\u003cp\u003e\u003cstrong\u003eWanda Corn:\u003c/strong\u003e When these paintings were seen for the first time, very often critics would see in them female forms. They would see in it allusions to the womb or to female reproductive organs. They would see womanly colors such as the pinks, the blues and the lavender. And it would be read as a painting that was one that could only have been made by a female intelligence.\u0026nbsp;\u003c/p\u003e\u003cp\u003eThis was a common way of talking about O'Keeffe's paintings in her early years. It was one that was prompted by her husband Alfred Stieglitz who liked to read in O'Keeffe's paintings an expression of the sort of eternal female.\u0026nbsp;\u003c/p\u003e\u003cp\u003eO'Keeffe herself felt as if that was more a comment on the critic than what she intended. She often would say it's about natural forms, but it's not to be tied to exclusively the female body. And she would have you rather see in a work like this a kind of slipperiness of form where you can't tie it to any one thing, be it a flower or be it a female body or be it a landscape. But that it has poetic allusions to all of those.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1782/04_702_-2_Georgia_O_Keeffe__Music__Pink_and_Blue_No._2__1918.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eGeorgia O'Keeffe, \u003cem\u003eMusic, Pink and Blue No. 2\u003c/em\u003e, 1918\u003c/p\u003e"}}},{"data":{"id":"19796","type":"guide_stop_item","attributes":{"id":19796,"item_type":"kids","item_language":"en","position":2,"guide_stop_id":14411,"media_id":1521,"created_at":"2017-04-24T15:40:26.000-04:00","updated_at":"2020-02-28T18:16:48.239-05:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eGeorgia O'Keeffe was inspired by things she saw in nature. Even in an abstract painting like this one, she used curvy, flowing lines and brilliant colors that might suggest something natural, like a blooming flower or a shell.\u003c/p\u003e\u003cp\u003eIn many of her paintings, O’Keeffe draws your eye from the edge to the center. Here, it moves from a pale billowy arc into deep blue.\u0026nbsp;\u003c/p\u003e\u003cp\u003eCan you picture yourself in this painting? Would you cocoon yourself in the center? Slip along the outer edge? Or wrap the colors around you like a scarf?\u003c/p\u003e\u003cp\u003eO’Keeffe wanted her paintings to express feelings that she didn’t have words for. She called this painting \u003cem\u003eMusic, Pink and Blue No. 2\u003c/em\u003e. Music can express feelings even when it’s instrumental, and doesn’t have lyrics. O’Keeffe thought paintings could be the same way—they didn’t need to have identifiable images. They could communicate in other ways. Can you see the rhythms in this painting?\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1802/02_702_-_Georgia_O_Keeffe__Music__Pink_and_Blue_No._2__1918.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eGeorgia O'Keeffe, \u003cem\u003eMusic, Pink and Blue No. 2\u003c/em\u003e, 1918\u003c/p\u003e"}}},{"data":{"id":"19797","type":"guide_stop_item","attributes":{"id":19797,"item_type":"verbal_description","item_language":"en","position":3,"guide_stop_id":14411,"media_id":52779,"created_at":"2022-05-02T13:04:51.442-04:00","updated_at":"2023-09-21T16:21:03.204-04:00","content":"\u003cp \u003eGeorgia O’Keeffe’s \u003cem\u003eMusic, Pink and Blue No. 2\u003c/em\u003e (1918) is an oil painting on canvas. It measures 35 inches in height and 29 15/16 inches in width. It measures 88.9 centimeters in height and 76 centimeters in width.\u003c/p\u003e\u003cp\u003eThis is an abstract painting. The colors are pale and light with an emphasis on pinks and blues. Emerging from the bottom of the painting, near the right corner, vertically slanting to our left is a blue tongue shape. Softly curved, swaying to our left, the color of aqua tinted water—this shape can be seen as a hole or a void. It is surrounded by an outer ribbon of white space that is tinged with tones of mint green and pale pink. The way this outer shape folds over the blue area intensifies the sense that we are gazing into the opening of an interior space. The curved white outer area is rimmed with a thin edge of pink and red—the colors bear a relationship to blood and flesh. Beyond this area are petal forms of pale violet outlined in red. These petals rest upon each other and morph into soft hills on our left. Behind these lavender petals is a crack between folds of pink and peach that rise to the top of the painting—a little left of center. Surrounding these folds and the soft fluttering petals that surround the white ribbon that homes the blue void from which we started this description is a background of light blue that turns to a pink violet in some areas and into light ripples in the upper right corner. O’Keeffe uses thin translucent washes of oil paint to create her seductive abstraction.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2823/852_VD_O_Keeffe.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eVerbal Description: Georgia O'Keeffe, \u003cem\u003eMusic, Pink and Blue No. 2\u003c/em\u003e\u003c/p\u003e"}}}]}}},{"data":{"id":"14506","type":"guide_stop","attributes":{"id":14506,"title":"Georgia O'Keeffe,\u003cem\u003e\u0026nbsp;Summer Days\u003c/em\u003e, 1936\u0026nbsp;","title_es":"","stop_number":"741","position":11,"primary_media_id":43961,"guide_id":52,"created_at":"2024-06-13T16:08:49.187-04:00","updated_at":"2025-05-02T11:49:10.126-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/824055/RS10715_94_171_cropped.jpg","small":{"url":"https://whitneymedia.org/assets/image/824055/small_RS10715_94_171_cropped.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/824055/medium_RS10715_94_171_cropped.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/824055/large_RS10715_94_171_cropped.jpg"}},"cover_media_html":"\u003cimg alt=\"A painting of a bull skull and flowers floating over a desert landscape.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 2485 / 2992 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/824055/small_RS10715_94_171_cropped.jpg 512w, https://whitneymedia.org/assets/image/824055/medium_RS10715_94_171_cropped.jpg 1024w, https://whitneymedia.org/assets/image/824055/large_RS10715_94_171_cropped.jpg 2048w\" src=\"https://whitneymedia.org/assets/image/824055/large_RS10715_94_171_cropped.jpg\" /\u003e","cover_media_description":"\u003cp\u003eGeorgia O'Keeffe, \u003cem\u003eSummer Days\u003c/em\u003e, 1936. Oil on canvas, 36 1/8 × 30 1/8 in. (91.8 × 76.5 cm). Whitney Museum of American Art, New York; gift of Calvin Klein 94.171. © 2019 Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19982","type":"guide_stop_item","attributes":{"id":19982,"item_type":"verbal_description","item_language":"en","position":1,"guide_stop_id":14506,"media_id":59006,"created_at":"2024-06-13T16:08:46.663-04:00","updated_at":"2025-07-15T15:03:32.640-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e Georgia O’Keeffe’s \u003cem\u003eSummer Days\u003c/em\u003e is a vertical oil painting on canvas. It is about 3 feet tall by 2.5 feet wide. The paint handling is smooth and even across the surface of the work. It depicts a large deer skull with antlers and a bouquet of wildflowers floating in the clouds above a mountainous desert landscape.\u003c/p\u003e\u003cp\u003eA nearly life-sized skull dominates the work. The head is tilted forward — so that the viewer sees its top—and is painted in creamy white and beige tones. O’Keeffe paid particular attention to anatomical detail, such as eye sockets, ridges along the snout, and a fissure that runs from above the eyes to the nasal cavity, emphasizing the form’s symmetry. The skull is centered on the work’s vertical axis and stretches from the top edge of the canvas, which is grazed by the tip of its left antler, to just below the middle of the composition.\u003c/p\u003e\u003cp\u003eA few inches below the hollow nasal passage of the skull, there is a loosely arranged bouquet of five flowers. A red bloom floats on the clouds beneath the skull, and two pink and two yellow flowers stretch diagonally up toward the right, with the upper petals of the topmost yellow blossom at the same height as the skull’s nose.\u003c/p\u003e\u003cp\u003eThe skull and the flowers appear to rest weightlessly atop the clouds, which are rendered in a soft white tinged with subtle grays and fill the composition from left to right. It is only in the bottom fifth of the canvas, beneath the flowers, that blue sky starts to peek through the clouds, just above the mountains. The undulating landscape, painted in a range of earthly orange hues, stretches across the bottom of the composition from left to right. The mountains appear to be far in the distance, occupying only a few inches of the lower register of the painting.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/3268/Georgia_OKeeffe_Summer_Days_Verbal_Description.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eVerbal Description: Georgia O'Keeffe,\u003cem\u003e\u0026nbsp;Summer Days\u003c/em\u003e, 1936\u0026nbsp;\u003c/p\u003e"}}}]}}},{"data":{"id":"14706","type":"guide_stop","attributes":{"id":14706,"title":"Marsden Hartley, \u003cem\u003ePainting, Number 5,\u0026nbsp;\u003c/em\u003e1914–15","title_es":"Marsden Hartley, \u003cem\u003ePainting, Number 5,\u0026nbsp;\u003c/em\u003e1914–15","stop_number":"742","position":12,"primary_media_id":31068,"guide_id":52,"created_at":"2025-03-25T16:05:17.292-04:00","updated_at":"2025-05-02T11:49:10.141-04:00","cover_media_file":null,"cover_media_html":"\u003cimg class=\"image\" alt=\"Sketchy color blocks resembling flags and badges hectically cover the canvas.\" style=\"aspect-ratio: 2401 / 2986 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/artwork/1809/small_58_65_cropped.jpg 512w, https://whitneymedia.org/assets/artwork/1809/58_65_cropped.jpg 2048w\" src=\"https://whitneymedia.org/assets/artwork/1809/58_65_cropped.jpg\" /\u003e","cover_media_description":"\u003cp\u003eMarsden Hartley, \u003cem\u003ePainting, Number 5\u003c/em\u003e, 1914–1915. Oil on linen, overall: 39 1/4 × 32 in. (99.7 × 81.3 cm). Whitney Museum of American Art, New York; gift of an anonymous donor 58.65\u003c/p\u003e","guide_stop_items":[{"data":{"id":"20389","type":"guide_stop_item","attributes":{"id":20389,"item_type":"audio","item_language":"en","position":1,"guide_stop_id":14706,"media_id":62085,"created_at":"2025-03-25T16:04:51.094-04:00","updated_at":"2025-03-25T16:05:13.474-04:00","content":"\u003cp\u003eLearn about the symbolism in this painting.\u003c/p\u003e\u003cp\u003e\u003ci data-stringify-type=\"italic\"\u003ePainting Number Five\u003c/i\u003e, by Marsden Hartley, is an exuberant cacophony of color and pattern. Near the center of the canvas, two circles overlap—one contains the German Iron Cross, a medal of valor awarded to German soldiers for their courage in battle. The other contains a red cross. Look carefully and you can find references to flags, military insignia, and even an army uniform. The effect is like a collage, combining impressions of things Hartley encountered in Berlin, where he lived before the start of the First World War.\u003c/p\u003e\u003cp\u003eWhat is the real subject of this painting? Think about how you recall things that have happened to you in the past. Often, it’s hard to conjure up a sense of something in its entirety. We remember a person or an event in the details—a gesture, a smell, a color. Hartley’s paintings function that way too; it’s actually a portrait, although the literal image of an actual person is altogether absent. The painting commemorates a young German officer, Karl von Freyburg, who died in the early months of World War I. Hartley was in love with von Freyburg, and he made this painting after learning of his death.\u003c/p\u003e\u003cp\u003eInspired by European avant-garde artists of the time, Hartley began to move away from direct representations of his subject matter toward more abstract, evocative imagery. Hartley once said that the artist’s challenge was to reveal what he called “the magic that is beneath the surface of what the eye sees.” In this painting, he captures a sense of an individual personality, and the emotional content of his relationship to Berlin and to von Freyburg.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/3439/UPDATED_811_Marsden_Hartley__Painting__Number_5_v2.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eMarsden Hartley, \u003cem\u003ePainting, Number 5,\u0026nbsp;\u003c/em\u003e1914–15\u003c/p\u003e"}}},{"data":{"id":"20391","type":"guide_stop_item","attributes":{"id":20391,"item_type":"audio","item_language":"es","position":2,"guide_stop_id":14706,"media_id":62086,"created_at":"2025-03-25T16:12:49.938-04:00","updated_at":"2025-04-10T10:08:06.360-04:00","content":"\u003cp\u003e\u003ci data-stringify-type=\"italic\"\u003ePainting, Number Five\u003c/i\u003e, de Marsden Hartley, es una cacofonía exuberante de color y diseño. Cerca del centro del lienzo, se sobreponen dos círculos: uno contiene la Cruz de Hierro alemana, una medalla al valor otorgada a soldados alemanes por su valentía en la batalla; el otro contiene una cruz roja. Si se mira atentamente, es posible descubrir referencias a banderas, insignias militares e incluso un uniforme del ejército. El efecto es semejante a un collage; combina impresiones de elementos que Hartley encontró en Berlín, donde vivió antes del inicio de la Primera Guerra Mundial.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e¿Cuál es el verdadero tema de esta pintura? Piense en la manera en que recuerda lo que le ha sucedido en el pasado. Con frecuencia es difícil evocar un evento en su totalidad. Recordamos a una persona o un suceso por los detalles: un gesto, un aroma, un color. Las pinturas de Hartley funcionan de la misma manera; esta obra es, en verdad, un retrato, aunque la imagen literal de una persona real esté ausente por completo. La pintura conmemora a un joven oficial alemán, Karl von Freyburg, que murió en los primeros meses de la Primera Guerra Mundial. Hartley estaba enamorado de von Freyburg y realizó esta pintura tras enterarse de su muerte.\u003cbr\u003eInspirado en los artistas de la vanguardia europea de la época, Hartley comenzó a alejarse de las representaciones directas de los temas para explorar una imaginería más abstracta y evocadora. Hartley dijo alguna vez que el desafío del artista era revelar lo que llamó “la magia que subyace a la superficie de lo que los ojos ven”. En esta pintura, capta el sentido de una personalidad individual y el contenido emocional de su relación con Berlín y con von Freyburg.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/3440/703_Marsden_Hartley__Painting__Number_5__1914-15.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eMarsden Hartley, \u003cem\u003ePainting, Number 5,\u0026nbsp;\u003c/em\u003e1914–15\u003c/p\u003e"}}},{"data":{"id":"20390","type":"guide_stop_item","attributes":{"id":20390,"item_type":"verbal_description","item_language":"en","position":3,"guide_stop_id":14706,"media_id":62084,"created_at":"2025-03-25T16:04:03.118-04:00","updated_at":"2025-04-10T10:00:13.964-04:00","content":"\u003cp\u003eMarsden Hartley’s \u003ci data-stringify-type=\"italic\"\u003ePainting, Number 5\u003c/i\u003e (1914–15) is an oil painting on linen. The work measures 39 1/4th inches in height and 32 inches in width. It measures 99.7 centimeters in height and 81.3 centimeters in width.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003eThis painting is filled with fragments of military pageantry that include banners, flags, medals, buttons, epaulets and symbols that are incorporated into an abstract composition. The fragments are subsumed into the shapes, patterns and colors of the overall work. We focus first on a round shape, which sits a little off-center within the painting’s overall composition. In its black circular center is a red cross, whose four arms are of equal length that get wider at the ends. It is surrounded by two outer circular bands: one is white and wide followed by a thin green outline. This circular shape overlaps another circular shape containing a black iron cross. It is placed within a red circle with a wide, golden band around its circumference.\u003cbr\u003ePartially obstructed by these two circular shapes is a pole—yellow and black in color—that rises to the top of the painting and angles to our right. The lower part of the pole does not extend to the bottom of the painting. Black and white lines are attached to the pole and fan out to our right; they bear a resemblance to a flag fluttering in the wind though its stripes are partially hidden by the circular framed crosses.\u003c/p\u003e\u003cp\u003e\u003cbr\u003eAs we work our way to the bottom half of the painting below the crosses, we can see rectangular shapes of military medals, red ribboned with yellow medals. A fragment of the number “8” slides into view while to our right there is the checkered pattern of a chess board that we gaze down upon. (The artist has placed us in this position.) Epaulet-like shapes and designs that resemble military buttons are scattered and inserted in a composition dominated by curved bands of color and angled stripes that extend to the edges of the canvas. Vertical shapes reference flag poles. Imagine being inside a parade—jostled by military paraphilia—uniforms, flags, banners and crowds. The artist achieves this through his use of recognizable fragments and differing shapes that fill the canvas. Hartley’s palette employs bright reds, dirty yellows, milky whites set off by dark areas—all applied in a chewy painterly style.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/3438/854_VD_Hartley.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eVerbal Description: Marsden Hartley,\u0026nbsp;\u003cem\u003ePainting, Number 5,\u0026nbsp;\u003c/em\u003e1914–15\u003c/p\u003e"}}}]}}},{"data":{"id":"14412","type":"guide_stop","attributes":{"id":14412,"title":"Edward Hopper, \u003cem\u003eSoir Bleu\u003c/em\u003e, 1914","title_es":"","stop_number":"750","position":13,"primary_media_id":4172,"guide_id":52,"created_at":"2023-12-07T15:36:29.224-05:00","updated_at":"2025-05-02T11:49:10.168-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/277885/70_1208_Hopper_Soir_Bleu.jpg","small":{"url":"https://whitneymedia.org/assets/image/277885/small_70_1208_Hopper_Soir_Bleu.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/277885/medium_70_1208_Hopper_Soir_Bleu.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/277885/large_70_1208_Hopper_Soir_Bleu.jpg"}},"cover_media_html":"\u003cimg alt=\"A painting of people sitting at cafe with a mostly blue color palette. \" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 3326 / 1655 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/277885/small_70_1208_Hopper_Soir_Bleu.jpg 512w, https://whitneymedia.org/assets/image/277885/medium_70_1208_Hopper_Soir_Bleu.jpg 1024w, https://whitneymedia.org/assets/image/277885/large_70_1208_Hopper_Soir_Bleu.jpg 2048w\" src=\"https://whitneymedia.org/assets/image/277885/large_70_1208_Hopper_Soir_Bleu.jpg\" /\u003e","cover_media_description":"\u003cp\u003eEdward Hopper, \u003cem\u003eSoir Bleu\u003c/em\u003e, 1914. Oil on canvas, Overall: 36 × 72 in. (91.4 × 182.9 cm). Whitney Museum of American Art, New York; Josephine N. Hopper Bequest 70.1208. © Heirs of Josephine N. Hopper/Licensed by VAGA, New York, NY\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19798","type":"guide_stop_item","attributes":{"id":19798,"item_type":"audio","item_language":"en","position":1,"guide_stop_id":14412,"media_id":945,"created_at":"2017-04-07T18:47:22.000-04:00","updated_at":"2023-11-02T11:06:57.133-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e Dr. Rick Brettell is a professor of Aesthetic Studies at the University of Texas, and has written extensively about Hopper in Paris. He considers\u003cem\u003e\u0026nbsp;Soir Bleu\u003c/em\u003e the single most ambitious painting of Edward Hopper’s career.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eRick Brettell:\u0026nbsp;\u003c/strong\u003e\u003cem\u003eSoir Bleu\u003c/em\u003e is an odd painting for Hopper, because Hopper’s oil paintings of any sort of decent scale, up until \u003cem\u003eSoir Bleu\u0026nbsp;\u003c/em\u003ewere generally landscapes or cityscapes that were space positive and had tiny or nonexistent human figures. \u003cem\u003eSoir Bleu\u003c/em\u003e is a figure painting. \u0026nbsp;And it’s a figure painting that shows that Hopper had wanted to actually take on the big canvases of Matisse and Picasso. Even the title of \u003cem\u003eSoir Bleu\u003c/em\u003e, which was, it is today, and when it was shown for the first time in 1915 in French. So he wants to make you think French and think of France. He doesn’t call it Blue Evening. He calls it \u003cem\u003eSoir Bleu\u003c/em\u003e.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e Hopper depicts an odd assortment of people gathered under a tent at the end of a party. Among them: on the far left, a working-class man smoking a cigarette; in the center, a sex worker and a clown, and on the far right, a bourgeois or upper middle class couple.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eRick Brettell:\u0026nbsp;\u003c/strong\u003eNo one is like anybody else. Everybody is separated from everybody else. Hopper kind of translates it into an everyman setting, in which most of the people in it, are part of a kind of world of alienated urban entertainment, in which one is always searching for a meaning somewhere else, in a costume or in a prostitute or in a drink or in a cigarette or in a party, And those sorts of worlds is the world that Hopper of course represents so importantly when he comes back to New York in 1910 and remains there until the end of his life.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/849/750_ENGLISH_Hopper_Soir_Bleu_edited.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eSoir Bleu\u003c/em\u003e, 1914\u003c/p\u003e"}}},{"data":{"id":"19799","type":"guide_stop_item","attributes":{"id":19799,"item_type":"audio","item_language":"es","position":2,"guide_stop_id":14412,"media_id":42706,"created_at":"2019-06-17T14:37:43.678-04:00","updated_at":"2020-06-09T16:02:03.411-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrador:\u0026nbsp;\u003c/strong\u003eEl Dr. Rick Brettell es profesor de Estudios Estéticos en la Universidad de Texas, y ha escrito numerosos trabajos sobre Hopper en París. Él considera que \u003cem\u003eSoir Bleu\u003c/em\u003e es la pintura más ambiciosa de la carrera de Edward Hopper.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eRick Brettell:\u0026nbsp;\u003c/strong\u003eSoir Bleu es una pintura peculiar para Hopper, ya que todas sus pinturas al óleo de una escala importante, hasta \u003cem\u003eSoir Bleu\u003c/em\u003e, eran por lo general paisajes naturales o urbanos de espacio positivo, y no tenían figuras humanas o solo tenían algunas pequeñas.\u003cem\u003e\u0026nbsp;Soir Bleu\u003c/em\u003e es una pintura de figuras. \u0026nbsp;Y es una pintura de figuras que muestra que Hopper había querido en realidad competir con los grandes lienzos de Matisse y Picasso. Incluso lo vemos en el título, \u003cem\u003eSoir Bleu\u003c/em\u003e, que fue al ser exhibido por primera vez en 1915, y sigue siendo hoy, un título en francés. Él quiere que pienses en francés, y que pienses en Francia. No se llama Blue Evening, ni Tarde azul. Se llama \u003cem\u003eSoir Bleu\u003c/em\u003e.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrador:\u0026nbsp;\u003c/strong\u003eHopper retrata una extraña diversidad de personas reunidas bajo una carpa al final de una fiesta. Entre ellas vemos: en el extremo izquierdo, un hombre de clase trabajadora fumando un cigarrillo; en el centro, una trabajadora sexual y un payaso; y en el extremo derecho, una pareja burguesa o de clase media alta.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eRick Brettell:\u0026nbsp;\u003c/strong\u003eNadie es semejante a los otros. Todos están separados de los demás. Hopper traduce esto en una especie de escenario del hombre común, en el que la mayoría de los integrantes forma parte de un mundo de entretenimiento urbano alienado, en el que uno está siempre buscando un sentido en algún otro lugar: en un disfraz, en una trabajadora sexual, en un trago, en un cigarrillo o en una fiesta. Y por supuesto, ese tipo de mundo es el mundo que Hopper representa con tanta relevancia cuando regresa a Nueva York en 1910 y permanece allí hasta el final de su vida.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2463/750_SPANISH_Hopper_Soir_Bleu.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eSoir Bleu\u003c/em\u003e, 1914\u003c/p\u003e"}}}]}}},{"data":{"id":"14413","type":"guide_stop","attributes":{"id":14413,"title":"Edward Hopper,\u003cem\u003e\u0026nbsp;New York Interior\u003c/em\u003e, 1921","title_es":"","stop_number":"751","position":14,"primary_media_id":9686,"guide_id":52,"created_at":"2023-12-07T15:40:05.201-05:00","updated_at":"2025-05-02T11:49:10.192-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/770301/modernlife011_1140.jpg","small":{"url":"https://whitneymedia.org/assets/image/770301/small_modernlife011_1140.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/770301/medium_modernlife011_1140.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/770301/large_modernlife011_1140.jpg"}},"cover_media_html":"\u003cimg alt=\"Painting by Edward Hopper. Painting of a woman in dress facing away from the viewer.  \" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 800 / 659 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/770301/small_modernlife011_1140.jpg 512w, https://whitneymedia.org/assets/image/770301/medium_modernlife011_1140.jpg 800w\" src=\"https://whitneymedia.org/assets/image/770301/large_modernlife011_1140.jpg\" /\u003e","cover_media_description":"\u003cp\u003eEdward Hopper, \u003cem\u003eNew York Interior\u003c/em\u003e, c. 1921. Oil on canvas, Overall: 24 1/4 × 29 1/4 in. (61.6 × 74.3cm). Whitney Museum of American Art, New York; Josephine N. Hopper Bequest 70.1200. © Heirs of Josephine N. Hopper/Licensed by VAGA, New York, NY\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19800","type":"guide_stop_item","attributes":{"id":19800,"item_type":"kids","item_language":"es","position":1,"guide_stop_id":14413,"media_id":42746,"created_at":"2019-06-18T17:41:54.798-04:00","updated_at":"2020-02-28T17:58:11.328-05:00","content":"","file":{"url":"https://whitneymedia.org/assets/audio/2487/751_SPANISH_KIDS_Hopper_Edward_2017_Where_We_Are_New_York_Interior_70_1200_SPN_KIDS.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper,\u003cem\u003e New York Interior\u003c/em\u003e, 1921\u003c/p\u003e"}}},{"data":{"id":"19801","type":"guide_stop_item","attributes":{"id":19801,"item_type":"kids","item_language":"en","position":2,"guide_stop_id":14413,"media_id":2819,"created_at":"2017-07-05T16:41:03.000-04:00","updated_at":"2020-02-28T18:04:44.924-05:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMark Joshua Epstein:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;Now we're here at\u0026nbsp;\u003c/span\u003e\u003cem\u003eNew York Interior\u003c/em\u003e\u003cspan\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003eby the artist Edward Hopper.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 1:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eI notice that it's a woman in a very beautiful, elegant dress, but it kind of looks depressing because of how dark it is.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 2:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eAlso, her hand is up in the air, and I was wondering why, and she's holding her dress up, so it almost looks like she's fixing it or something.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 3:\u003c/strong\u003e \u003cspan\u003eI see in the top right corner there's a clock, and it looks like both of the hands are pointing at the twelve, so that shows it might be late at night.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 4\u003c/strong\u003e\u003cspan\u003e\u003cstrong\u003e:\u003c/strong\u003e She kind of seems lonely. Maybe she was in a relationship of some sort and they decided to separate.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMark Joshua Epstein:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;A lot of historians think that Edward Hopper was inspired to paint this scene by his travels on the El Train, which was a train in New York that had an elevated track, so he could see through people's windows when he was on the train.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 1:\u003c/strong\u003e\u003cspan\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003eWell, now that you said that, I noticed that the sides are cut off so it looks like a window.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 2:\u003c/strong\u003e \u003cspan\u003eI'm kind of thinking since he only really got a glimpse of what was happening, you can't really totally describe the significance of the moment, and so she might actually be really happy, because from that point of view, you can’t really see her face.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMark Joshua Epstein:\u003c/strong\u003e\u003cspan\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003eOne other question I had just to think about our own experience for a moment, if you walked into the museum, and you saw a painting like this of you through a window of your apartment, how would you feel?\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 1:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;I would feel kind of invaded, like somebody took a picture of me.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 2:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eI would also feel kind of like, why are you looking at me, and what's so interesting about me when I'm just sewing up my dress?\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 3:\u003c/strong\u003e \u003cspan\u003eUnpopular opinion. It would be cool to have a painting by a famous artist about you. I'd be kind of surprised, but I'd also be like, cool!\u0026nbsp;\u003c/span\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1925/722_Edward_Hopper__New_York_Interior__c._1921.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eNew York Interior\u003c/em\u003e, c. 1921\u003c/p\u003e"}}},{"data":{"id":"19802","type":"guide_stop_item","attributes":{"id":19802,"item_type":"audio","item_language":"en","position":3,"guide_stop_id":14413,"media_id":1509,"created_at":"2017-04-20T15:57:34.000-04:00","updated_at":"2020-02-28T18:05:43.967-05:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e Artist and art critic Brian O’Doherty.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBrian O’Doherty:\u003c/strong\u003e We're looking at \u003cem\u003eNew York Interior\u003c/em\u003e. He was 39 when he did that. But Hopper lived long and he was a slow starter, determined. He was a long-distance runner and he paced himself. So, \u003cem\u003eNew York Interior\u003c/em\u003e proves something that he said to me. He said every artist has a core of originality, a core that is himself. And how does that come out in art? It comes out in the format of things. It comes out in the concerns, the themes, and the details of the paintings he does, even when he's young.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eIn \u003cem\u003eNew York Interior\u003c/em\u003e, as is true in paintings from throughout his career, Hopper offers select details, but ultimately doesn’t reveal who or what we are looking at.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBrian O’Doherty:\u003c/strong\u003e But she does seem to be a sort of ballerina or dancer. She's in a very flouncy dress. But as I look at it further I see that what she's doing is she's sewing something on her lap and the hand raised, as you may remember from watching your mother. She's sewing and in that hand there's probably—if we could see closely enough—a needle.\u0026nbsp;\u003c/p\u003e\u003cp\u003eNow on the right there is some typical Hopper furniture, a clock that's rather unusual; time is present. On the left there's another picture. And I look at those things and they're incidentals which gradually tended to be burned away from his art as his vision got purer. But what I do look at as a very powerful thing is that big black vertical on the left which is holding the piece in and is like a kind of exclamation saying, \"Look at this picture.\"\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1790/12_722_-_Edward_Hopper__New_York_Interior__c._1921.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eNew York Interior\u003c/em\u003e, 1921\u003c/p\u003e"}}},{"data":{"id":"19803","type":"guide_stop_item","attributes":{"id":19803,"item_type":"kids","item_language":"es","position":4,"guide_stop_id":14413,"media_id":2865,"created_at":"2017-07-06T14:10:19.000-04:00","updated_at":"2025-01-22T21:41:44.445-05:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMark Joshua Epstein:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eAhora estamos aquí, frente a\u0026nbsp;\u003c/span\u003e\u003cem\u003eNew York Interior\u003c/em\u003e\u003cspan\u003e\u0026nbsp;del artista Edward Hopper.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eEstudiante 1:\u0026nbsp;\u003c/strong\u003e\u003c/span\u003eYo me he fijado que es una mujer con un vestido muy hermoso y elegante, pero tiene un aspecto deprimente por lo oscuro que es.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eEstudiante 2:\u003c/strong\u003e\u003cspan\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003eTambién tiene la mano levantada, me preguntaba por qué sería, y se está levantando el vestido, por lo que casi pareciera que lo está arreglando o algo así.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eEstudiante 1:\u003c/strong\u003e\u003c/span\u003e Veo que en la esquina superior derecha hay un reloj y pareciera que ambas manecillas apuntan a las doce, lo que muestra que podría ser por la noche bien tarde.\u0026nbsp;\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eEstudiante 2:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;Parece algo sola. Quizás se encontrara en una relación de algún tipo y decidieron separarse.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eMark Joshua Epstein:\u0026nbsp;\u003c/strong\u003e\u003c/span\u003e Muchos historiadores piensan que Edward Hopper se inspiró para pintar esta escena en sus viajes en el El Train, que era un tren de Nueva York cuyas vías estaban elevadas, por lo que podía ver a través de las ventanas de la gente cuando viajaba en el tren.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eEstudiante 1:\u003c/strong\u003e\u003cspan\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003eBueno, ahora que nos cuenta eso, he notado que los lados están cortados, así que parece una ventana.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eEstudiante 2:\u003c/strong\u003e\u003c/span\u003e Yo pensaba que, ya que él solo vio un instante de lo que estaba pasando, no es posible realmente describir la relevancia del momento, por lo que ella podría estar muy feliz en realidad. Porque, desde ese punto de vista, es imposible verle bien la cara realmente.\u0026nbsp;\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMark Joshua Epstein:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;Otra pregunta que tenía, solo para reflexionar sobre nuestra propia experiencia por un instante: si entraran al museo y vieran una pintura como esta, en la que se les viera a ustedes a través de la ventana de su apartamento, ¿cómo se sentirían?\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eEstudiante 1:\u003c/strong\u003e\u003c/span\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003eYo sentiría, de alguna manera, que por qué me están mirando y ¿qué tiene de interesante verme cosiendo mi vestido?\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eEstudiante 2:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eOpinión poco popular. Sería genial tener una pintura sobre mí realizada por un artista famoso. Me sorprendería un poco, pero también pensaría “¡qué genial!”.\u003c/span\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1944/722_Edward_Hopper__New_York_Interior__c._1921.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eNew York Interior\u003c/em\u003e, c. 1921\u003c/p\u003e"}}},{"data":{"id":"19804","type":"guide_stop_item","attributes":{"id":19804,"item_type":"audio","item_language":"es","position":5,"guide_stop_id":14413,"media_id":2899,"created_at":"2017-07-10T16:00:53.000-04:00","updated_at":"2020-02-28T18:18:34.870-05:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eNarrador\u003c/strong\u003e\u003cspan\u003e\u003cstrong\u003e:\u0026nbsp;\u003c/strong\u003eArtista y crítico de arte Brian O’Doherty.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eBrian O’Doherty\u003c/strong\u003e\u003c/span\u003e\u003cstrong\u003e:\u003c/strong\u003e Esta obra es \u003cspan\u003e\u003cem\u003eNew York Interior\u003c/em\u003e\u003c/span\u003e. Hopper tenía 39 años cuando la pintó, pero tuvo una vida larga y se inició en la pintura tardíamente, con determinación. Al igual que un corredor de maratones, Hopper regulaba su ritmo. Así, \u003cspan\u003e\u003cem\u003eNew York Interior\u003c/em\u003e\u003c/span\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003edemuestra lo que me dijo alguna vez: que cada artista tiene un núcleo de originalidad, un núcleo que es su verdadero ser. ¿Y cómo aflora eso en arte? Lo hace en forma de elementos. Se revela en las inquietudes, los temas y los detalles de las pinturas que realiza el artista, incluso de joven.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eNarrador:\u003c/strong\u003e\u003cspan\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003eEn\u0026nbsp;\u003c/span\u003e\u003cem\u003eNew York Interior\u003c/em\u003e\u003cspan\u003e, al igual que en otras obras que pintó a lo largo de su carrera, Hopper presenta detalles selectos, pero no revela a quién o qué ve el observador.\u003c/span\u003e\u0026nbsp;\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eBrian O’Doherty:\u0026nbsp;\u003c/strong\u003e\u003c/span\u003eAun así, pareciera que la figura es la de una bailarina. Lleva un vestido con volantes. No obstante, al mirarla con detenimiento, descubro que está cosiendo algo en su regazo con una mano en el aire, como uno recuerda haber visto a la propia madre. Cose, y en la mano—si pudiéramos verla de cerca—quizá sostenga una aguja.\u003c/p\u003e\u003cp dir=\"ltr\"\u003eA la derecha hay un mueble característico de Hopper, con un reloj que es poco usual; la presencia del tiempo. A la izquierda aparece otra pintura. Al mirar estos elementos sé que son incidentales y que tendieron a desaparecer en su obra a medida que la visión del pintor adquirió mayor pureza. Un elemento que considero muy poderoso es esa vertical grande y negra que sostiene y contiene a la pieza, y que funciona como una especie de exclamación que ordena: \"Miren esta pintura.\"\u0026nbsp;\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1964/722_Edward_Hopper__New_York_Interior__c._1921.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eNew York Interior\u003c/em\u003e, c. 1921\u003c/p\u003e"}}},{"data":{"id":"19805","type":"guide_stop_item","attributes":{"id":19805,"item_type":"audio","item_language":"en","position":6,"guide_stop_id":14413,"media_id":53775,"created_at":"2022-10-02T10:48:50.205-04:00","updated_at":"2023-09-21T14:07:29.313-04:00","content":"\u003cp\u003e\u003cstrong\u003eJane Dickson\u003c/strong\u003e: \u003cem\u003eNew York Interior\u003c/em\u003e, 1921, is somewhat unusual for Hopper compositionally in that it's absolutely centered, and it's one-point perspective as opposed to diagonals.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator\u003c/strong\u003e: Artist Jane Dickson.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJane Dickson\u003c/strong\u003e: So right in the center of the composition, we see the somewhat muscle-y shoulders and back. She's wearing a strapless dress, and she's sewing. And to me, she looks like an aging ballerina.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator\u003c/strong\u003e: He seems to be looking through a window.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJane Dickson\u003c/strong\u003e: You see black on either side, which really sort of locks her in there. And then there's these hillocks of fabric that are between us, the viewer, and her. So there's many obstacles to her, and she's in her own fantasy world.\u0026nbsp;\u003c/p\u003e\u003cp\u003eSo it's like, she's imagining a life that maybe she's already passed. And if you notice, her hand that's up pulling the thread is pointing to a clock on the mantelpiece, which is a medieval symbol for time passing.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2832/505_New_York_Interior.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003e\u003cem\u003eNew York Interior\u003c/em\u003e, c. 1921\u003c/p\u003e"}}},{"data":{"id":"19806","type":"guide_stop_item","attributes":{"id":19806,"item_type":"audio","item_language":"es","position":7,"guide_stop_id":14413,"media_id":53800,"created_at":"2022-10-02T12:23:19.845-04:00","updated_at":"2023-09-21T14:24:04.702-04:00","content":"\u003cp\u003e\u003cstrong\u003eJane Dickson\u003c/strong\u003e: New York Interior, del año 1921, es algo inusual para Hopper en términos de composición, ya que es completamente... Está centrada y tiene una perspectiva frontal, no desde las diagonales.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator\u003c/strong\u003e: Artista Jane Dickson.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJane Dickson\u003c/strong\u003e: Justo en el centro de la composición, vemos estos hombros y esta espalda un tanto musculosos. La figura lleva puesto un vestido sin tirantes y está cosiendo. En mi opinión, parece una bailarina con algunos años.\u0026nbsp;\u003c/p\u003e\u003cp\u003eAl frente, se ve una pila de tela. Hay una manta roja y algo de color negro. Ni siquiera podemos ver qué es.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator\u003c/strong\u003e: Pareciera que el artista está mirando por la ventana.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJane Dickson\u003c/strong\u003e: Hay negro a ambos lados, lo que hace que la modelo quede centrada en la composición. Y después están estos montículos de tela entre nosotros —los espectadores— y ella. Tiene muchos obstáculos, y ella está en su propio mundo de fantasía.\u0026nbsp;\u003c/p\u003e\u003cp\u003eEs como si estuviese imaginando una vida que quizás ya vivió. Y, si se mira atentamente, la mano que está jalando del hilo apunta hacia un reloj en la repisa de la chimenea, un símbolo medieval del paso del tiempo.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2853/505_New_York_Interior__c._1921__Jane_Dickson__XX.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003e\u003cem\u003eNew York Interior\u003c/em\u003e, c. 1921\u003c/p\u003e"}}}]}}},{"data":{"id":"14414","type":"guide_stop","attributes":{"id":14414,"title":"Edward Hopper\u003cem\u003e, Early Sunday Morning\u003c/em\u003e, 1930\u0026nbsp;","title_es":"","stop_number":"752","position":15,"primary_media_id":9142,"guide_id":52,"created_at":"2023-12-07T15:44:58.894-05:00","updated_at":"2025-05-02T11:49:10.254-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/741479/31.426_hopper_e.jpg","small":{"url":"https://whitneymedia.org/assets/image/741479/small_31.426_hopper_e.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/741479/medium_31.426_hopper_e.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/741479/large_31.426_hopper_e.jpg"}},"cover_media_html":"\u003cimg alt=\"Red building with green storefronts, a barber pole, and a fire hydrant on a sunny day with long shadows.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 2340 / 1361 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/741479/small_31.426_hopper_e.jpg 512w, https://whitneymedia.org/assets/image/741479/medium_31.426_hopper_e.jpg 1024w, https://whitneymedia.org/assets/image/741479/large_31.426_hopper_e.jpg 2048w\" src=\"https://whitneymedia.org/assets/image/741479/large_31.426_hopper_e.jpg\" /\u003e","cover_media_description":"\u003cp\u003eEdward Hopper, \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930. Oil on canvas, 35 3/16 × 60 1/4 in. (89.4 × 153 cm). Whitney Museum of American Art, New York; purchase with funds from Gertrude Vanderbilt Whitney 31.426. © Heirs of Josephine N. Hopper/Licensed by VAGA, New York, NY\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19807","type":"guide_stop_item","attributes":{"id":19807,"item_type":"audio","item_language":"es","position":1,"guide_stop_id":14414,"media_id":53803,"created_at":"2022-10-02T12:27:26.482-04:00","updated_at":"2023-09-21T14:26:19.006-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator\u003c/strong\u003e: En una ocasión, Hopper dijo que \u003cem\u003eEarly Sunday Morning\u003c/em\u003e era “una traducción casi literal de la Séptima Avenida”. Pero la pintura es más compleja de lo que sugiere esa descripción.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAndrew Berman\u003c/strong\u003e: Por una parte, podemos percibir una vista increíblemente íntima de esta fila de tiendas en tonos apagados con lo que parecen ser residencias sobre ellas.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator\u003c/strong\u003e: Andrew Berman es director ejecutivo de la Greenwich Village Society for Historical Preservation.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAndrew Berman\u003c/strong\u003e: Pero vemos algunos indicios de la ciudad más grande que rodea la escena, que parece estar asomándose desde los bordes del marco de la pintura —en especial del lado derecho—; el edificio más grande que se erige formidable en lo alto podría indicar, en muchos sentidos, la suerte de escala vertical invasora de la ciudad.\u003c/p\u003e\u003cp\u003eCreo que la elección de representar la escena con estas primeras luces del día le añade una cierta desolación a la imagen; es imposible verla y no decir “¿qué pasará con estas tiendas?”. Al igual que sucede en muchas de las pinturas de Hopper: uno las mira y dice “¿qué pasará con esta persona?”. Hay algo que tiene que ver con que captamos a las personas en un momento, pero también percibimos una sensación del cambio que precedió a la imagen y de otro cambio inminente. Y siento que la obra es un ejemplo claro de esto, en especial en relación con el desarrollo de Nueva York en la década de 1930; el enorme impulso de la década de 1920 estaba en su pico más alto, por lo que gran parte de lo que fueron los inicios de Nueva York estaba cambiando o desapareciendo.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2856/508_Early_Sunday_Morning__1930.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003e\u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930\u0026nbsp;\u003c/p\u003e"}}},{"data":{"id":"19808","type":"guide_stop_item","attributes":{"id":19808,"item_type":"audio","item_language":"en","position":2,"guide_stop_id":14414,"media_id":53778,"created_at":"2022-10-02T10:52:57.062-04:00","updated_at":"2023-09-21T14:09:49.253-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator\u003c/strong\u003e: Hopper once said that \u003cem\u003eEarly Sunday Morning\u003c/em\u003e was “an almost literal translation of Seventh Avenue.” But the painting is more complex than that description might suggest.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAndrew Berman\u003c/strong\u003e: On the one hand you have this incredibly intimate view of this diminutively scaled row of stores with what seemed to be residences above them.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator\u003c/strong\u003e: Andrew Berman is Executive Director of the Greenwich Village Society for Historical Preservation.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAndrew Berman\u003c/strong\u003e: But you have hints of the sort of bigger city around it, that kind of peek in from the edges of the frame of the picture, most notably on the right hand side, the larger building that looms overhead, which, in a lot of ways seems to be indicative of the sort of encroaching vertical scale of the city.\u003c/p\u003e\u003cp\u003eThe choice of it being in this kind of early morning light, I think adds a forlornness to the image, where you can't help but look at it and say, “What's going to happen to these?” Much as in many of Hopper's paintings, you look at it and you say, “What's gonna become of this person?” There's something about how you've captured them in a moment in time, but you feel a sense of the change that preceded the image and the impending change. And I feel that this really captures that in a very specific way, particularly relating to how New York was developing around 1930, the enormous boom of the 1920s was cresting, and so much of early New York was really changing or disappearing at this time.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2835/508_Early_Sunday_Morning.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003e\u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930\u003c/p\u003e"}}},{"data":{"id":"19809","type":"guide_stop_item","attributes":{"id":19809,"item_type":"audio","item_language":"en","position":3,"guide_stop_id":14414,"media_id":12826,"created_at":"2017-08-21T12:52:01.000-04:00","updated_at":"2020-06-09T16:02:06.523-04:00","content":"\u003cp\u003e\u003cstrong\u003eArt Spiegelman:\u003c/strong\u003e Hopper's a regionalist and I've always liked the American regionalists like Reginald Marsh and Grant Wood. But the region that Hopper occupies is basically the desolate inner landscape of America.\u003c/p\u003e\u003cp\u003eAnd in \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, I also was aware of how thoroughly related this is to my medium, comics. You know the word comics is kind of a misnomer and in Portuguese, I've discovered, they are called \u003cem\u003equadrenos\u003c/em\u003e, little boxes. And basically Hopper's a painter of little boxes. He takes his little box, he subdivides it into other boxes.\u003c/p\u003e\u003cp\u003eSo I think of \u003cem\u003eEarly Sunday Morning\u003c/em\u003e as a comic strip before the Sunday sun comes up. The boxes before they're fully inhabited. Some people sleeping, some people just sort of brushing their teeth, at best. The stores not activated and therefore full of a kind of sad potential.\u003c/p\u003e\u003cp\u003eIt looks like the barbershop pole is sort of already tipping its bulb to the little fire hydrant. It's kind of like the CP3O and R2D2 of 1930. This kind of mechanized urban, but very alive, possibly as least as alive as the people living behind those windows might be creatures.\u003c/p\u003e\u003cp\u003eAnd it kind of makes a mournful song, even though it's morning.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1994/752.2_Hopper_Edward_Early_Sunday_Morning_31.426_Level_2_Where_We_Are_2017.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930\u003c/p\u003e"}}},{"data":{"id":"19810","type":"guide_stop_item","attributes":{"id":19810,"item_type":"audio","item_language":"en","position":4,"guide_stop_id":14414,"media_id":12825,"created_at":"2017-08-21T12:49:35.000-04:00","updated_at":"2025-06-25T14:24:45.249-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eAll you’re looking at here is a block of brick storefronts with apartments above them. The title, \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, may explain the emptiness of the street, but it can’t explain the emotional pull of the painting.\u003c/p\u003e\u003cp\u003eWhen Edward Hopper made this image in 1930, he based it on a real street he knew—Seventh Avenue South in Greenwich Village. But he’s made it look like any main street in any small town anywhere in America. Notice the storefront windows. They have lettering on them, yet Hopper doesn’t let you make out what the letters say. Hopper is an artist of universals, not particulars; he doesn’t want to be that specific.\u003c/p\u003e\u003cp\u003eNow look up at the windows on the second floor. Begin at the left. A yellow shade is drawn; another is half raised; further along, some of the windows are covered with darker window coverings; to the right, a few more have decorative curtains. Each is slightly different, hinting at a life being lived beyond our view. In this small detail, Hopper makes us acutely aware that the people are missing from the picture. As a result, the painting communicates a sense of loneliness.\u003c/p\u003e\u003cp\u003eAt the upper right corner of the canvas, a small dark rectangle rises above the building—the suggestion of a skyscraper in the background. It doesn’t catch your eye at first, but once you notice it, the tall building changes the whole picture. A threat overshadows the otherwise quiet street. Sooner or later the juggernaut of commerce and technology will eradicate a small-town way of life.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1993/752_ENGLISH_Hopper_Early_Sunday_Morning_edited.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eVerbal Description: Edward Hopper, \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930\u003c/p\u003e"}}},{"data":{"id":"19811","type":"guide_stop_item","attributes":{"id":19811,"item_type":"audio","item_language":"es","position":5,"guide_stop_id":14414,"media_id":2856,"created_at":"2017-07-06T13:25:17.000-04:00","updated_at":"2020-06-09T16:02:03.359-04:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eArt Spiegelman:\u003c/strong\u003e\u003cspan\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003eSiempre me han gustado los regionalistas estadounidenses como Reginald Marsh y Grant Wood. Pero la región que ocupa Hopper es, básicamente, el paisaje desolado del interior Estados Unidos.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003eEn\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003cspan\u003e\u003cem\u003eEarly Sunday Morning\u003c/em\u003e\u003c/span\u003e, también tuve en cuenta la estrecha relación que esto mantiene con mi medio, el cómic. Como ustedes saben, la palabra cómic en cierto sentido es poco apropiada; he descubierto que, en portugués, se los llama \u003cspan\u003equadrenos\u003c/span\u003e, o cajitas. Y Hopper es, básicamente, un pintor de cajitas. Toma su cajita y la subdivide en otras cajas.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAsí que yo entiendo\u0026nbsp;\u003c/span\u003e\u003cem\u003eEarly Sunday Morning\u003c/em\u003e \u003cspan\u003ecomo una tira cómica que plasma el momento anterior a que salga el sol el domingo. Las cajas anteriores están completamente habitadas. Algunos duermen, otros quizás se estén lavando los dientes, como mucho. Las tiendas no están activas todavía y, por lo tanto, rebosan de un potencial triste.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003ePareciera que el poste de la barbería ya está inclinándose hacia la pequeña boca de incendio. Ambos son como el CP3O y el R2D2 de los años treinta. Este tipo de urbanismo mecanizado pero, a la vez, lleno de vida; posiblemente, tan lleno de vida como la gente que vive detrás de esas ventanas, que podrían ser criaturas.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003eY, de alguna manera, compone una canción triste, aun cuando es por la mañana.\u003c/span\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1935/752.2_Edward_Hopper__Early_Sunday_Morning__1931.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930\u003c/p\u003e"}}},{"data":{"id":"19812","type":"guide_stop_item","attributes":{"id":19812,"item_type":"audio","item_language":"en","position":6,"guide_stop_id":14414,"media_id":947,"created_at":"2017-04-07T18:47:27.000-04:00","updated_at":"2020-02-28T18:16:56.395-05:00","content":"\u003cp\u003e\u003cstrong\u003eCarter Foster:\u003c/strong\u003e \u003cem\u003eEarly Sunday Morning\u003c/em\u003e was significant for this exhibition because in doing early research, I was able to identify the building that Hopper was looking at that inspired the painting, through old photographs.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e You can see one of those photographs on your screen.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCarter Foster:\u003c/strong\u003e What's interesting about the painting is how Hopper both stretched out the building and condensed it the same time. It sounds paradoxical and it sort of is. But what he did was he added an extra bay, an extra window, so that sort of elongates the top of the structure. But he also added another shop opening in the bottom part, so that you get this compression. You get smaller doors and windows than were actually there.\u003c/p\u003e\u003cp\u003eHe sets off that sense of compression with this very prominent barber pole, which I have to read as a stand-in for a human being, and perhaps a stand-in for Hopper himself, who was actually tall and, in fact, by this time, bald.\u0026nbsp;\u003c/p\u003e\u003cp\u003eSo you get this face-off between this solid, familiar but mundane building and this very brightly lit barber pole in this kind of masterful composition, perhaps of which the main subject is light and the way light plays off the built urban environment.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e One of the most important details in \u003cem\u003eEarly Sunday Morning\u003c/em\u003e is something you might not notice right away—the dark square in the upper right corner. A larger building was going up when Hopper was working on the painting. Its looming silhouette suggests the rapid urbanization and modernization that was transforming the city.\u0026nbsp;\u003c/p\u003e\u003cp\u003eTo hear more about \u003cem\u003eEarly Sunday Morning\u003c/em\u003e and its relationship to \u003cem\u003eNighthawks\u003c/em\u003e—the other painting in this room—please tap your screen.\u0026nbsp;\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/851/10_309_-_edward_hopper_early_sunday_morning_1930.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930\u003c/p\u003e"}}},{"data":{"id":"19813","type":"guide_stop_item","attributes":{"id":19813,"item_type":"audio","item_language":"es","position":7,"guide_stop_id":14414,"media_id":2872,"created_at":"2017-07-06T14:21:37.000-04:00","updated_at":"2020-02-28T18:16:42.275-05:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMark Joshua Epstein:\u003c/strong\u003e \u003cspan\u003eEsta pintura se llama\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003c/span\u003e\u003cem\u003eEarly Sunday Morning\u003c/em\u003e\u003cspan\u003e\u0026nbsp;y fue realizada por Edward Hopper. ¿Qué les llama la atención sobre ella?\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eEstudiante 1:\u003c/strong\u003e\u0026nbsp;\u003c/span\u003ePareciera que todo está cerrado, todas las tiendas y las ventanas están cerradas y no se ve a nadie en la calle.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eEstudiante 2:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eYo creo también que realmente parece una mañana porque las sombras son alargadas.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eEstudiante 1:\u0026nbsp;\u003c/strong\u003e\u003c/span\u003eMuestra la quietud de la mañana cuando acaba de salir el sol y todo el mundo está todavía en la cama.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eEstudiante 2:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eMe preguntaba si… Creo que los letreros están borrosos a propósito para dejar que imaginemos qué tiendas serían.\u003c/span\u003e\u0026nbsp;\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eMark Joshua Epstein:\u0026nbsp;\u003c/strong\u003e\u003c/span\u003e Edward Hopper dijo que esta pintura estaba inspirada en una parte de la Séptima Avenida, que corre de norte a sur en Nueva York, y me pregunto: ¿alguno nota algo raro con respecto a las sombras?\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eEstudiante 1:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eDado que el sol sale del este al oeste y que la calle corre de norte a sur, es algo raro porque pensaría que las sombras tendrían que estar horizontales y no verticales.\u003c/span\u003e\u0026nbsp;\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eMark Joshua Epstein:\u0026nbsp;\u003c/strong\u003e\u003c/span\u003e¿Alguno de ustedes cree posible que esta pintura sea el resultado de una combinación entre observación e imaginación?\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eEstudiante 2:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eYo creo que sí porque las sombras no son muy realistas… La pintura es como realista pero algunas cosas son casi extrañas.\u003c/span\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1951/752_Edward_Hopper__Early_Sunday_Morning__1930.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930\u003c/p\u003e"}}},{"data":{"id":"19814","type":"guide_stop_item","attributes":{"id":19814,"item_type":"audio","item_language":"es","position":8,"guide_stop_id":14414,"media_id":2855,"created_at":"2017-07-06T13:23:49.000-04:00","updated_at":"2025-06-26T14:02:41.506-04:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eNarrador:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eTodo lo que vemos aquí es una cuadra de frentes de ladrillo en la que hay tiendas a pie de calle y apartamentos en el primer piso. El título,\u0026nbsp;\u003c/span\u003e\u003cem\u003eEarly Sunday Morning\u003c/em\u003e\u003cspan\u003e, podría explicar la calle vacía; sin embargo, no explica la tensión emocional que desprende la pintura. Observe más de cerca.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003eCuando Edward Hopper creó esta imagen en 1930, se inspiró en una calle verdadera que conocía: la Séptima Avenida Sur de Greenwich Village. No obstante, le dio el aspecto que podría tener cualquier calle principal de cualquier pueblecito de cualquier rincón de los Estados Unidos. Fíjese en las vidrieras de las tiendas: tienen carteles. Sin embargo, Hopper no nos permite descifrar lo que dicen. Hopper es un artista de universales, no de particulares; no quiere ser específico.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAhora fíjese en las ventanas del primer piso, comenzando por la izquierda. Una cortina amarilla está baja; otra, medio abierta; más hacia el centro, algunas de las ventanas están cubiertas con postigos más oscuros; a la derecha, otras más tienen cortinas decorativas. Cada ventana tiene algo ligeramente distinto y estas distinciones sugieren una vida que se desarrolla más allá de nuestro campo de visión. Con este pequeño detalle, Hopper nos hace muy conscientes de que no hay personas en la pintura y, como resultado, esta transmite una sensación de soledad.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003eEn la parte superior derecha del lienzo, vemos un pequeño rectángulo oscuro que se eleva sobre el edificio: la sugerencia de un rascacielos en el fondo. En principio, no llama la atención, pero una vez que uno lo ve, el edificio alto cambia la escena por completo. Una amenaza ensombrece esta calle por lo demás tranquila. Tarde o temprano, el gigante que componen el comercio y la tecnología erradicará la forma de vida pueblerina.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1934/752_Edward_Hopper__Early_Sunday_Morning__1931.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003edescripción verbal: Edward Hopper, \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930\u003c/p\u003e"}}},{"data":{"id":"19815","type":"guide_stop_item","attributes":{"id":19815,"item_type":"kids","item_language":"en","position":9,"guide_stop_id":14414,"media_id":2825,"created_at":"2017-07-05T16:57:24.000-04:00","updated_at":"2020-02-28T18:07:44.526-05:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMark Joshua Epstein:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eThis painting is called\u0026nbsp;\u003c/span\u003e\u003cem\u003eEarly Sunday Morning\u003c/em\u003e\u003cspan\u003e\u0026nbsp;and it was made by Edward Hopper. What do you notice about it?\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 1:\u003c/strong\u003e \u003cspan\u003eWell, it looks like everything is closed, and all the shops and the windows are closed, and it doesn’t look like anybody is on the street.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 2:\u003c/strong\u003e \u003cspan\u003eI think that it also really looks like a morning because of the way that the shadows are long.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 3:\u003c/strong\u003e \u003cspan\u003eIt shows the stillness of the morning when the sun just comes up, everybody is still in bed.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 4:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eI’m wondering if, I think the words were blurred on purpose to let you imagine what the shops would be.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMark Joshua Epstein:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;Edward Hopper said that this painting was based on a part of Seventh Avenue, which is a north-south Street in New York, and I’m wondering if anyone notices something funny about the shadows.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 1:\u003c/strong\u003e \u003cspan\u003eWhen the sun rises like east-west and when the street’s sky is north-south, it’s kind of weird, because you think the shadows would be going horizontally rather than vertical.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMark Joshua Epstein:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;Does anyone think it’s possible that this painting is a result of a combination of observation with imagination?\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 1:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eI think yes because the shadows aren’t very realistic. It’s like realistic but then some things are like a little bit off, almost.\u003c/span\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1930/752_Edward_Hopper__Early_Sunday_Morning__1930.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930\u003c/p\u003e"}}},{"data":{"id":"19816","type":"guide_stop_item","attributes":{"id":19816,"item_type":"audio","item_language":"en","position":10,"guide_stop_id":14414,"media_id":1096,"created_at":"2017-04-07T18:57:08.000-04:00","updated_at":"2020-02-28T17:59:44.845-05:00","content":"\u003cp\u003e\u003cstrong\u003eCarter Foster:\u0026nbsp;\u003c/strong\u003eI was able to identify the building that Hopper was looking at that inspired the painting, through old photographs.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eCarter Foster is the Steven and Ann Ames Curator of Drawing at the Whitney.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCarter Foster:\u0026nbsp;\u003c/strong\u003eWhat's interesting about the painting is how Hopper both stretched out the building and condensed it the same time. It sounds paradoxical and it sort of is. But what he did was he added an extra bay, an extra window, so that sort of elongates the top of the structure. But he also added another shop opening in the bottom part, so that you get this compression. You get smaller doors and windows than were actually there.\u003c/p\u003e\u003cp\u003eHe sets off that sense of compression with this very prominent barber pole, which I have to read as a stand-in for a human being, and perhaps a stand-in for Hopper himself, who was actually tall and, in fact, by this time, bald.\u0026nbsp;\u003c/p\u003e\u003cp\u003eSo you get this face-off between this solid, familiar but mundane building and this very brightly lit barber pole in this kind of masterful composition, perhaps of which the main subject is light and the way light plays off the built urban environment.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eOne of the most important details in \u003cem\u003eEarly Sunday Morning\u003c/em\u003e is something you might not notice right away—the dark square in the upper right corner. A larger building was going up when Hopper was working on the painting. Its looming silhouette suggests the rapid urbanization and modernization that was transforming the city.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1124/720_-_edward_hopper_early_sunday_morning_1930.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930\u003c/p\u003e"}}},{"data":{"id":"19817","type":"guide_stop_item","attributes":{"id":19817,"item_type":"kids","item_language":"es","position":11,"guide_stop_id":14414,"media_id":42747,"created_at":"2019-06-18T17:42:40.634-04:00","updated_at":"2020-02-28T17:56:19.555-05:00","content":"","file":{"url":"https://whitneymedia.org/assets/audio/2488/770_SPANISH_KIDS_Lawrence_Jacob_2017_Where_We_Are_War_Series_SPN_KIDS.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930\u003c/p\u003e"}}},{"data":{"id":"19818","type":"guide_stop_item","attributes":{"id":19818,"item_type":"audio","item_language":"en","position":12,"guide_stop_id":14414,"media_id":948,"created_at":"2017-04-07T18:47:29.000-04:00","updated_at":"2020-02-28T17:54:36.007-05:00","content":"\u003cp\u003e\u003cstrong\u003eCarter Foster:\u0026nbsp;\u003c/strong\u003eA building very much like \u003cem\u003eEarly Sunday Morning\u003c/em\u003e forms the background of \u003cem\u003eNighthawks\u003c/em\u003e. \u003cem\u003eEarly Sunday Morning\u003c/em\u003e represents daytime. \u003cem\u003eNighthawks\u003c/em\u003e represents nighttime.\u0026nbsp;\u003c/p\u003e\u003cp\u003eHere, the overarching subject matter would be times of day and the passing of time, day to night. It's also about memory and the way that the urban environment changes. I think that we can look at the paintings together and they enrich each other and give us a larger context that Hopper was thinking about when he made both works.\u0026nbsp;\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/857/11_309_2_-_edward_hopper_early_sunday_morning_1930_level_2.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, \u003cem\u003eEarly Sunday Morning\u003c/em\u003e, 1930\u003c/p\u003e"}}},{"data":{"id":"19979","type":"guide_stop_item","attributes":{"id":19979,"item_type":"verbal_description","item_language":"en","position":13,"guide_stop_id":14414,"media_id":58704,"created_at":"2024-05-07T16:37:38.088-04:00","updated_at":"2024-05-07T16:37:38.509-04:00","content":"\u003cp\u003e\u003cem\u003eEarly Sunday Morning\u003c/em\u003e\u0026nbsp;is a horizontal oil painting on canvas. It is 3 feet tall and 6 feet wide, so it is twice as wide as it is tall. It shows a block of three attached buildings, all two stories tall, with shops on the street level and apartments above them. The buildings extend horizontally across the painting from the left edge to the right edge. You see them as if you're standing across the street from them.\u003c/p\u003e\u003cp\u003eAbove all the buildings is a strip of blue sky, darker blue on the left, becoming lighter and tinged with yellow toward the right side of the painting. Below the buildings is a sidewalk, a curb, and a thin slice of the street. The sidewalk, curb, and street also run from one edge of the painting to the other.\u003c/p\u003e\u003cp\u003eThe buildings are in New York City, but Hopper leaves out details like street signs. So it could be any Main Street, in any small town in the United States, during the middle decades of the twentieth century. There’s nothing living or natural in this painting. No people, pets, birds, flowers or trees, though there are hints of human activity in the apartment windows above the stores. And the sunlight is strong.\u003c/p\u003e\u003cp\u003eAbout a third of the way in from the left there is a fire hydrant on the sidewalk. And slightly right of center on the sidewalk there is a barber’s pole with red, white, and blue diagonal stripes. Except for the barber’s pole, there is no way to know the business of the stores. The storefront windows have lettering on them, but you can’t make out the words. The storefronts on the left and in the center are painted green and have rolled up awnings above their windows. The store on the right is painted red.\u003c/p\u003e\u003cp\u003eThe second floor above all the stores is painted deep brick red. There are ten apartment windows, all the same size, stretching across the stores below. Some windows are open, some have yellow shades pulled down to differing lengths. Some windows have dark window coverings. A few have white curtains. In this small detail, Hopper makes us acutely aware that people are missing from the picture.\u003c/p\u003e\u003cp\u003eThe sunlight on the buildings is very bright, and it is shining into the painting from the right. You can tell by the shadows. Both the barber’s pole and the fire hydrant cast long, dark shadows to the left, as they block the sunlight coming from the right. The length of these shadows shows that the sun is still rising and low on the horizon. It’s the sunlight and the absence of people that suggest the time is early morning and that the day of the week is Sunday, when few people are outside working or shopping.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/3262/Edward_Hopper_Early_Sunday_Morning_Verbal_Description.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEdward Hopper, Early Sunday Morning, 1930\u003c/p\u003e"}}}]}}},{"data":{"id":"14307","type":"guide_stop","attributes":{"id":14307,"title":"Man Ray, \u003cem\u003eLa Fortune\u003c/em\u003e, 1938","title_es":"Man Ray, \u003cem\u003eLa Fortune\u003c/em\u003e, 1938","stop_number":"761","position":16,"primary_media_id":7977,"guide_id":52,"created_at":"2023-10-17T17:05:07.217-04:00","updated_at":"2025-05-02T11:49:10.393-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/670102/72.129_ray.jpg","small":{"url":"https://whitneymedia.org/assets/image/670102/small_72.129_ray.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/670102/medium_72.129_ray.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/670102/large_72.129_ray.jpg"}},"cover_media_html":"\u003cimg alt=\"A billiards table sits in the desert angled towards a sky filled with with clouds of starkly different colors. There is a blue mountain range in the distance.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 2400 / 1987 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/670102/small_72.129_ray.jpg 512w, https://whitneymedia.org/assets/image/670102/medium_72.129_ray.jpg 1024w, https://whitneymedia.org/assets/image/670102/large_72.129_ray.jpg 2048w\" src=\"https://whitneymedia.org/assets/image/670102/large_72.129_ray.jpg\" /\u003e","cover_media_description":"\u003cp\u003eMan Ray,\u0026nbsp;\u003cem\u003eLa Fortune\u003c/em\u003e, 1938. Oil on linen, 23 11/16 × 28 13/16 in. (60.2 × 73.2 cm). Whitney Museum of American Art, New York; purchase, with funds from the Simon Foundation, Inc. 72.129 © 2015 Man Ray Trust / Artists Rights Society (\u003cspan\u003eARS\u003c/span\u003e), NY /\u0026nbsp;ADAGP\u003cspan\u003e, Paris\u003c/span\u003e\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19602","type":"guide_stop_item","attributes":{"id":19602,"item_type":"audio","item_language":"es","position":1,"guide_stop_id":14307,"media_id":42707,"created_at":"2019-06-17T15:04:46.885-04:00","updated_at":"2024-11-12T14:04:08.127-05:00","content":"\u003cp\u003eEn esta pintura de Man Ray, de 1938, una mesa de billar se extiende hacia el horizonte. \u0026nbsp;Por encima flotan nubes con los colores del arcoíris. Las imágenes no pueden explicarse de manera simple: se trata de un paisaje mental, un producto de la imaginación vívida del artista. El título, \u003cem\u003eLa Fortune\u003c/em\u003e, implica suerte y azar. Los juegos de azar aparecen a menudo en la obra de Man Ray. Al igual que otros artistas surrealistas, él consideraba que el proceso creativo es como un juego, que requiere de creatividad, inteligencia y un enfoque lúdico para resolver problemas.\u003c/p\u003e\u003cp\u003eMan Ray fue un artista estadounidense que pasó la mayor parte de su vida en Europa, donde fue una figura destacada del vanguardismo europeo. En 1940, justo antes de la ocupación nazi, se fue de París. Llegó a los Estados Unidos como parte de una afluencia masiva de artistas, escritores e intelectuales exiliados. Esta afluencia tuvo una enorme repercusión en la cultura estadounidense, y un efecto profundo y perdurable sobre su arte.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2464/04_Man_Ray__La_Fortune__1938_SP_Updated.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eMan Ray, \u003cem\u003eLa Fortune\u003c/em\u003e, 1938\u003c/p\u003e"}}},{"data":{"id":"19603","type":"guide_stop_item","attributes":{"id":19603,"item_type":"audio","item_language":"en","position":2,"guide_stop_id":14307,"media_id":1120,"created_at":"2017-04-07T18:58:03.000-04:00","updated_at":"2024-08-07T11:09:16.761-04:00","content":"\u003cp\u003e\u003cstrong\u003eAdam Weinberg:\u0026nbsp;\u003c/strong\u003eIn this painting by Man Ray, from 1938, a billiard table stretches toward the horizon.\u003c/p\u003e\u003cp\u003eAbove it float rainbow-colored clouds. The imagery defies simple explanation—this is a landscape of the mind, a product of the artist’s vivid imagination. The title, \u003cem\u003eLa Fortune\u003c/em\u003e, suggests luck. Games of luck and chance often appear in Man Ray’s work. Like other Surrealist artists, he regarded the creative process much like a game, requiring creativity, intelligence, and a playful approach to problem-solving. Man Ray was an American artist who spent most of his life in Europe, where he was a leading figure in the European avant-garde. In 1940, just before the Nazi occupation, he left Paris. He arrived in the United States, part of an enormous influx of exiled artists, writers, and intellectuals. Their presence had a tremendous impact on American culture, and a deep and lasting effect on American art.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1154/761_Ray_ENG_Updated_La_Fortune.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eMan Ray, \u003cem\u003eLa Fortune\u003c/em\u003e, 1938\u003c/p\u003e"}}}]}}},{"data":{"id":"14324","type":"guide_stop","attributes":{"id":14324,"title":"Jacob Lawrence, \u003cem\u003eWar Series\u003c/em\u003e, 1946-47","title_es":"","stop_number":"770","position":17,"primary_media_id":22676,"guide_id":52,"created_at":"2023-10-17T17:05:07.417-04:00","updated_at":"2025-05-02T11:49:10.428-04:00","cover_media_file":null,"cover_media_html":"\u003cimg class=\"image\" alt=\"People in a boat with blue ropes, wearing patterned clothing, appear thoughtful and somber.\" style=\"aspect-ratio: 2908 / 2314 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/artwork/1190/small_51_17a_cropped.jpg 512w, https://whitneymedia.org/assets/artwork/1190/51_17a_cropped.jpg 1024w\" src=\"https://whitneymedia.org/assets/artwork/1190/51_17a_cropped.jpg\" /\u003e","cover_media_description":"\u003cp\u003eJacob Lawrence, \u003cem\u003eWar Series: Going Home\u003c/em\u003e, 1947. Tempera on composition board, overall: 16 1/8 × 20 3/16 in. (41 × 51.3 cm)\r\nImage: 15 7/8 × 20 1/16 × 1/8 in. (40.3 × 51 × 0.3 cm). Whitney Museum of American Art, New York; gift of Mr. and Mrs. Roy R. Neuberger 51.17a-b. © The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19630","type":"guide_stop_item","attributes":{"id":19630,"item_type":"audio","item_language":"en","position":1,"guide_stop_id":14324,"media_id":55955,"created_at":"2023-07-27T13:43:10.877-04:00","updated_at":"2023-10-04T16:39:22.810-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e Lawrence’s\u0026nbsp;\u003cem\u003eWar Series\u003c/em\u003e originated during his service on a World War II navy transport ship.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJacob Lawrence:\u003c/strong\u003e I served on the\u0026nbsp;USS Sea Cloud, which was a weather patrol ship, and I served on the\u0026nbsp;\u003cem\u003eUnited States Richardson\u003c/em\u003e, which was a troop transport. Again, I will never forget that experience. We would go over carrying 5,000 troops—young, American troops—and we would come back a hospital ship. Many of these cases were horrible. They were terrible to see, what can happen in war, especially what can happen to a person mentally, physically, psychologically. I don’t think I can verbalize that, because I would only cheapen the experience.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e Lawrence was initially given the rank of Steward’s Mate, a post that was often the only one available to African Americans. \u0026nbsp;He soon rose to serve in an integrated regiment as a Coast Guard Artist, going on to document the war in Italy, England, Egypt, and India. After the war, Lawrence became an influential teacher and completed numerous public works and illustrations in addition to his painted works.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/3061/770_ENGLISH_Lawrence_Jacob_2017_Where_We_Are_War_Series_51_1-14.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJacob Lawrence, \u003cem\u003eWar Series\u003c/em\u003e, 1946-47\u003c/p\u003e"}}},{"data":{"id":"19977","type":"guide_stop_item","attributes":{"id":19977,"item_type":"verbal_description","item_language":"en","position":2,"guide_stop_id":14324,"media_id":58702,"created_at":"2024-05-07T16:32:39.148-04:00","updated_at":"2024-05-07T16:32:39.554-04:00","content":"\u003cp\u003eJacob Lawrence’s \u003cem\u003eWar Series: Prayer\u003c/em\u003e is a horizontal painting measuring about 16 inches tall and 20 inches wide. The majority of the space is occupied by two abstracted human figures seen in profile in the foreground, both kneeling with their heads down and hands resting at their knees in prayer. The figure on the left’s body is rendered as a simplified, blocky, dark brown silhouette, with lighter brown shapes forming the coat-like garment draped over their shoulders. The body of the figure on the right, also rendered as a dark brown silhouette, wears a light green dress and green shoes; a color that is echoed in the fine streaks of paint indicating the sweep of their hair.\u003c/p\u003e\u003cp\u003eThe background is a blue and green landscape of silhouetted mountains. The sky is shown as a hazy wash of horizontal strokes of lighter blue paint, delineated from the mountains by a royal blue contour. The outlined arch of the mountains frames the figures, precisely curving over the figure on the left to emphasize their bowed bodies. Along the bottom edge of the composition, a row of reed-like plants grow in short, diagonal sprigs. While the composition is simplified into planes of color, each facet of the picture has a great deal of variation in tone and texture. These variations create an energetic composition which balances the still nature of the scene. The matching shapes and parallel lines throughout this painting emphasize pattern and repetition, perhaps alluding to types of prayer. Lawrence often unified multiple works in a series through color choice, and in cthe deep blues and browns appear across many of the panels.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/3260/Jacob_Lawrence_War_Series_Verbal_Description.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJacob Lawrence, War Series: Prayer, 1947\u003c/p\u003e"}}}]}}},{"data":{"id":"14308","type":"guide_stop","attributes":{"id":14308,"title":"Jay DeFeo, \u003cem\u003eThe Rose\u003c/em\u003e, 1958–1966","title_es":"Jay DeFeo, \u003cem\u003eThe Rose\u003c/em\u003e, 1958–1966","stop_number":"782","position":18,"primary_media_id":7997,"guide_id":52,"created_at":"2023-10-17T17:05:07.230-04:00","updated_at":"2025-05-02T11:49:10.501-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/676106/95.170_defeo.jpg","small":{"url":"https://whitneymedia.org/assets/image/676106/small_95.170_defeo.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/676106/medium_95.170_defeo.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/676106/large_95.170_defeo.jpg"}},"cover_media_html":"\u003cimg alt=\"Gray layers of oil paint and sediment radiate in a starlike shape from a central white point that seems to emanate light in a monumental abstract artwork standing over 10½ feet tall.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 800 / 1129 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/676106/small_95.170_defeo.jpg 512w, https://whitneymedia.org/assets/image/676106/medium_95.170_defeo.jpg 800w\" src=\"https://whitneymedia.org/assets/image/676106/large_95.170_defeo.jpg\" /\u003e","cover_media_description":"\u003cp\u003eJay DeFeo, \u003cem\u003eThe Rose\u003c/em\u003e, 1958–66. Oil with wood and mica on canvas, 128 7/8 × 92 1/4 × 11 in. (327.3 × 234.3 × 27.9 cm). Whitney Museum of American Art, New York; gift of The Jay DeFeo Trust and purchase, with funds from the Contemporary Painting and Sculpture Committee and the Judith Rothschild Foundation 95.170. © 2015 The Jay DeFeo Trust/Artists Rights Society (ARS), New York\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19604","type":"guide_stop_item","attributes":{"id":19604,"item_type":"audio","item_language":"es","position":1,"guide_stop_id":14308,"media_id":46014,"created_at":"2019-12-05T11:03:55.609-05:00","updated_at":"2023-10-04T16:22:52.941-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrador:\u003c/strong\u003e Dana Miller es la excuradora de la colección permanente en el Whitney, y fue la curadora de la retrospectiva de Jay DeFeo en 2013.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDana Miller:\u003c/strong\u003e \u003cem\u003eThe Rose\u003c/em\u003e es la pintura más emblemática de DeFeo. Dedicó casi ocho años a trabajar en ella. Desde 1958 hasta 1966. Cuando comenzó a trabajar en esta obra, no tenía idea de lo que iba a crear. Ella dijo que lo único que sabía era que iba a crear una pintura que tuviera un centro. Y con eso fue que empezó.\u003c/p\u003e\u003cp\u003eAplicaba la pintura con espátulas y paletas, la engrosaba de una manera muy exhaustiva, y luego la iba esculpiendo y dándole forma.\u003c/p\u003e\u003cp\u003eHabía días en que regresaba al estudio por la mañana, y veía que la pintura había cambiado durante la noche. Aunque la noche anterior hubiera salido del estudio contenta con el progreso de la obra, la gravedad la arruinaba por completo debido al grosor de todas las capas de pintura.\u003c/p\u003e\u003cp\u003eA veces tenía que raspar y limar todo de nuevo, y volver a empezar. En varios sentidos, era una suma de destrucciones.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrador:\u003c/strong\u003e Jay DeFeo en 1988.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJay DeFeo:\u003c/strong\u003e Alcanzó bastantes etapas finales. Sabes, como una especie de ciclo de historia del arte. Tuvo un momento primitivo, arcaico, clásico, y hasta llegó a un barroco, pero luego me di cuenta de que todo el concepto se había vuelto muy ostentoso, y volví a traerlo a una especie de etapa más clásica. Todas esas etapas eran bastante completas e interesantes en sí mismas, pero simplemente no era la versión final, no era lo que yo quería. Y supongo que no sé si todo habría estado en un único lienzo si hubiera tenido un estudio más grande, que me hubiera permitido extenderla un poco más. Pero solo tenía una única pared grande para pintar.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2539/782_SPN_DeFeo_The_Rose__1958-1966.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJay DeFeo, \u003cem\u003eThe Rose\u003c/em\u003e, 1958–1966\u003c/p\u003e"}}},{"data":{"id":"19605","type":"guide_stop_item","attributes":{"id":19605,"item_type":"kids","item_language":"en","position":2,"guide_stop_id":14308,"media_id":46043,"created_at":"2019-12-11T11:32:32.444-05:00","updated_at":"2023-10-04T16:29:58.370-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e What’s the longest you’ve ever worked on a painting? Jay DeFeo spent nearly eight years creating \u003cem\u003eThe Rose\u003c/em\u003e, by adding thick layers of paint and then scraping massive amounts away.\u003c/p\u003e\u003cp\u003eLayer then scrape—over and over! In between she added things from her day-to-day life: a barrette, bottle cap, keys, and wire.\u003c/p\u003e\u003cp\u003eSometimes the thick layers of paint would shift overnight. When it did, DeFeo carefully carved the paint until it was back the way she wanted it. Sometimes, a week or even a month later, the paint would shift again! But DeFeo never gave up. She worked through her frustration until it looked exactly the way she wanted.\u003c/p\u003e\u003cp\u003eAs you can probably imagine—eight years’ worth of paint makes for one heavy painting! It is 11 inches thick in places, and probably weighs about a ton. That's about twenty-seven fifth graders!\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2544/DeFeo_Jay_2015_America_Is_Hard_to_See_The_Rose_95_170_KIDS.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJay DeFeo, \u003cem\u003eThe Rose\u003c/em\u003e, 1958–1966\u003c/p\u003e"}}},{"data":{"id":"19606","type":"guide_stop_item","attributes":{"id":19606,"item_type":"audio","item_language":"en","position":3,"guide_stop_id":14308,"media_id":46011,"created_at":"2019-12-05T10:52:27.374-05:00","updated_at":"2023-10-04T16:39:47.440-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e Dana Miller is the former curator of the permanent collection. She curated the Jay DeFeo retrospective that took place here at the Whitney in 2013.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDana Miller:\u003c/strong\u003e \u003cem\u003eThe Rose\u003c/em\u003e is DeFeo's landmark painting. She spent almost eight years working on it, from 1958 to 1966. When she began the work she had really no notion of what she was going to make. She said the only thing she knew was that she was going to create a painting that had a center. And that's what she began with.\u003c/p\u003e\u003cp\u003eShe would apply paint using palette knives and trowels, and build it up in this very, very extensive manner and then carve it back and shape it.\u003c/p\u003e\u003cp\u003eThere were days where she would walk into the studio in the morning and the paint had shifted overnight. While she had been happy with what it looked like when she left it the evening before, it had been completely ruined in the course of gravity shifting the paint just because of the thick application. And she would have to, in some cases, scrape it all the way back and start over. It was a sum of its destructions in many ways.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eJay DeFeo in 1988.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJay DeFeo:\u003c/strong\u003e It reached really final stages. Kind of like a whole cycle of art history. It went through a primitive, archaic, classic, and all on up to baroque and then I realized how flamboyant the whole concept had gotten and I kind of pulled it back to a more classical stage. All of those stages were rather interesting and complete in themselves but just not what the final version was, what I intended. And I suppose, I don’t know whether it would have all gone on, on one canvas if I’d had the kind of studio that it could have spread itself out in a little bit. But I just had one big painting wall.\u0026nbsp;\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2536/ENG_782_DeFeo.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJay DeFeo, \u003cem\u003eThe Rose\u003c/em\u003e, 1958–1966\u003c/p\u003e"}}}]}}},{"data":{"id":"14309","type":"guide_stop","attributes":{"id":14309,"title":"Norman Lewis, \u003cem\u003eAmerican Totem\u003c/em\u003e, 1960","title_es":"Norman Lewis, \u003cem\u003eAmerican Totem\u003c/em\u003e, 1960","stop_number":"783","position":19,"primary_media_id":42222,"guide_id":52,"created_at":"2023-10-17T17:05:07.245-04:00","updated_at":"2025-05-02T11:49:10.536-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/823310/2018-141_Lewis.jpg","small":{"url":"https://whitneymedia.org/assets/image/823310/small_2018-141_Lewis.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/823310/medium_2018-141_Lewis.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/823310/large_2018-141_Lewis.jpg"}},"cover_media_html":"\u003cimg alt=\"A painting with a black background and white totem-like central figure\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 2355 / 3858 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/823310/small_2018-141_Lewis.jpg 512w, https://whitneymedia.org/assets/image/823310/medium_2018-141_Lewis.jpg 1024w, https://whitneymedia.org/assets/image/823310/large_2018-141_Lewis.jpg 2048w\" src=\"https://whitneymedia.org/assets/image/823310/large_2018-141_Lewis.jpg\" /\u003e","cover_media_description":"\u003cp\u003eNorman Lewis, \u003cem\u003eAmerican Totem\u003c/em\u003e, 1960. Oil on canvas, 73 1/2 × 44 7/8 in. (186.7 × 114 cm). Whitney Museum of American Art, New York; purchase with funds from the Laurie M. Tisch Illumination Fund in memory of Preston Robert and Joan Tisch, the Painting and Sculpture Committee, Director’s Discretionary Fund, Adolph Gottlieb, by exchange, and Sami and Hala Mnaymneh 2018.141. © Norman Lewis. Courtesy Michael Rosenfeld Gallery LLC, New York, NY\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19607","type":"guide_stop_item","attributes":{"id":19607,"item_type":"audio","item_language":"es","position":1,"guide_stop_id":14309,"media_id":46046,"created_at":"2019-12-11T12:55:59.891-05:00","updated_at":"2023-10-04T16:23:09.201-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrador:\u0026nbsp;\u003c/strong\u003eNorman Lewis creó esta obra, \u003cem\u003eAmerican Totem\u003c/em\u003e, en 1960. En lugar de abordar la inequidad racial mediante estilos representativos, Lewis recurrió a la abstracción, como muchos de sus contemporáneos. Veía la pintura de acción, o el expresionismo abstracto, como una manera de hablar sobre cuestiones de derechos civiles. \u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNorman Lewis:\u003c/strong\u003e Antes pintaba gente negra despojada y discriminación, y poco a poco me fui dando cuenta de que esto no movilizaba a nadie... Descubrí que la única forma de resolver algo era actuando y reaccionando físicamente. Entiendo que los derechos civiles me afectan, entonces ¿qué voy a pintar? ¿Qué voy a hacer? No lo sé. Y estoy seguro de que no tendrá nada que ver con los derechos civiles de forma directa, pero simplemente espero que me sea posible materializar un poco de toda esta frustración como artista negro en Estados Unidos, y creo que la acción tiene que provenir de artistas negros.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrador:\u003c/strong\u003e Las figuras blancas triangulares en esta pintura hacen referencia a las capuchas que utilizaban los miembros del Ku Klux Klan, un grupo de odio conformado por supremacistas blancos.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNorman Lewis:\u003c/strong\u003e Nací en Nueva York, concretamente en Harlem. Alguien dijo alguna vez que la violencia en Estados Unidos es tan homogénea como el pastel de manzana. Y es cierto, sabes, pero no nos damos cuenta. El Estados Unidos blanco es tan jodidamente agresivo que niega todo lo que se interponga en su camino.\u0026nbsp;\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2547/783_Lewis_edited.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eNorman Lewis, \u003cem\u003eAmerican Totem\u003c/em\u003e, 1960\u003c/p\u003e"}}},{"data":{"id":"19608","type":"guide_stop_item","attributes":{"id":19608,"item_type":"kids","item_language":"en","position":2,"guide_stop_id":14309,"media_id":46018,"created_at":"2019-12-05T11:14:32.963-05:00","updated_at":"2023-10-04T16:30:59.946-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e Norman Lewis called this painting \u003cem\u003eAmerican Totem\u003c/em\u003e. You’ve probably heard of totem poles, sculptures made by the Indigenous peoples of the Pacific Northwest. But a totem can be anything that a group of people find spiritually meaningful, and use as a symbol of their identity. Usually, we think of a totem as being an animal or an object—something pretty easy to identify. But if this painting is a totem, it’s a pretty abstract one. A lot of its meaning lies in the shapes, and how Lewis chose to paint them. One thing you might notice is that some of the white forms fade into black, so it’s hard to tell where their edges are—which creates a sense of mystery. You could also observe Lewis packed a lot of irregular shapes into a tight outline. This might create a feeling of tension.\u0026nbsp;\u003c/p\u003e\u003cp\u003eThere may be some recognizable imagery in this painting. The two forms at the top look a bit like eyes peering out from beneath a white hood. Together they look like the costumes worn by the Ku Klux Klan, a violent white supremacist group. Lewis was an African American painter working at the height of the Civil Rights movement,which fought for racial equality. He believed that he could use abstraction to communicate his experience—including the frustration of being a Black man in segregated America.\u0026nbsp;\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2543/ENG_783_Lewis_KIDS.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eNorman Lewis, \u003cem\u003eAmerican Totem\u003c/em\u003e, 1960\u003c/p\u003e"}}},{"data":{"id":"19609","type":"guide_stop_item","attributes":{"id":19609,"item_type":"audio","item_language":"en","position":3,"guide_stop_id":14309,"media_id":46044,"created_at":"2019-12-11T11:42:59.332-05:00","updated_at":"2023-10-04T16:40:04.350-04:00","content":"\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eNorman Lewis made this artwork, \u003cem\u003eAmerican Totem\u003c/em\u003e, in 1960. Instead of addressing racial inequality through representational styles, Lewis turned to abstraction, like many of his contemporaries. He saw action painting, or Abstract Expressionism, as a way to speak to Civil Rights issues.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNorman Lewis:\u0026nbsp;\u003c/strong\u003eI used to paint Negroes being dispossessed, discrimination, and slowly I became aware of the fact that this didn't move anybody. I found the only way to solve anything was to go out and take some kind of physical action. I find that civil rights affects me, so what am I going to paint, what am I going to do. I don't know. I am sure it will have nothing to do with civil rights directly but possibly I just hope that I can materialize something out of all this frustration as a black artist in America. I think it has to come from black artists.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e\u0026nbsp; The white, triangular shapes in this painting refer to hoods worn by members of the Ku Klux Klan, a white supremacist hate group.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNorman Lewis:\u0026nbsp;\u003c/strong\u003eI was born in New York, Harlem. Somebody said violence is as homogenous as apple pie to America. And this is true, you know, but we don't realize it. White America is so goddamn aggressive that it negates anything that gets in its way.\u003c/p\u003e\u003cp\u003e[Oral history interview with Norman Lewis, 1968 July 14. Archives of American Art, Smithsonian Institution.]\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2545/783_Lewis_edited.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eNorman Lewis, \u003cem\u003eAmerican Totem\u003c/em\u003e, 1960\u003c/p\u003e"}}}]}}},{"data":{"id":"14310","type":"guide_stop","attributes":{"id":14310,"title":"Ed Clark, \u003cem\u003eWinter Bitch\u003c/em\u003e, 1959","title_es":"Ed Clark, \u003cem\u003eWinter Bitch\u003c/em\u003e, 1959","stop_number":"784","position":20,"primary_media_id":43501,"guide_id":52,"created_at":"2023-10-17T17:05:07.260-04:00","updated_at":"2025-05-02T11:49:10.568-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/823839/T_2018_603_Clark-Crop.jpg","small":{"url":"https://whitneymedia.org/assets/image/823839/small_T_2018_603_Clark-Crop.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/823839/medium_T_2018_603_Clark-Crop.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/823839/large_T_2018_603_Clark-Crop.jpg"}},"cover_media_html":"\u003cimg alt=\"An abstract painting with strokes of orange, blue, pink, and black.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 2500 / 2332 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/823839/small_T_2018_603_Clark-Crop.jpg 512w, https://whitneymedia.org/assets/image/823839/medium_T_2018_603_Clark-Crop.jpg 1024w, https://whitneymedia.org/assets/image/823839/large_T_2018_603_Clark-Crop.jpg 2048w\" src=\"https://whitneymedia.org/assets/image/823839/large_T_2018_603_Clark-Crop.jpg\" /\u003e","cover_media_description":"\u003cp\u003eEd Clark, \u003cem\u003eWinter Bitch\u003c/em\u003e, 1959. Acrylic on canvas, 77 × 77 in. (195.6 × 195.6 cm). Whitney Museum of American Art, New York; purchase with funds from the Painting and Sculpture Committee and partial gift of the artist 2019.307. © Ed Clark\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19610","type":"guide_stop_item","attributes":{"id":19610,"item_type":"audio","item_language":"es","position":1,"guide_stop_id":14310,"media_id":46015,"created_at":"2019-12-05T11:05:55.950-05:00","updated_at":"2023-10-04T16:23:32.080-04:00","content":"\u003cp\u003e\u003cstrong\u003eEd Clark:\u003c/strong\u003e Me cuesta poner un título a mis obras. Esta de aquí se llama Winter Bitch (Invierno cabrón) [1959]. Ese nombre es tremendo.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrador:\u003c/strong\u003e El pintor Edward Clark hizo esta obra después de vivir cinco años en París, donde pasó un invierno particularmente duro. En una entrevista con el artista Jack Whitten, Clark describió la influencia que tuvo esta ciudad en su obra.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEd Clark:\u003c/strong\u003e No se consideraba a Nueva York como la capital mundial del arte en ese momento, ¿sabes? Era París.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrador:\u003c/strong\u003e Clark comenzó a utilizar una escoba en lugar de un pincel para esparcir la pintura en el lienzo. Lo hizo para crear franjas gruesas y gestuales de color, como estas franjas negras y rosadas.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEd Clark:\u003c/strong\u003e Lo que más me influyó en Francia fue el color: por algún motivo, el color de los grandes artistas allí era más memorable que el color estadounidense. Había algo en Francia, quizás el ángulo del sol o algo por el estilo. Se mete en tu subconsciente un poco. Podía ver que el color era diferente. La peculiaridad francesa era el color.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrador:\u003c/strong\u003e Los derechos de autor de esta entrevista pertenecen a BOMB Magazine, New Art Publications, sus colaboradores y a Edward Clark. Todos los derechos reservados. La entrevista oral completa de Jack Whitten con Edward Clark puede leerse en bombmagazine.org.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2540/784_SPN_Edward_Clark_Winter_Bitch__1959.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEd Clark, \u003cem\u003eWinter Bitch\u003c/em\u003e, 1959\u003c/p\u003e"}}},{"data":{"id":"19611","type":"guide_stop_item","attributes":{"id":19611,"item_type":"audio","item_language":"en","position":2,"guide_stop_id":14310,"media_id":46045,"created_at":"2019-12-11T11:51:42.950-05:00","updated_at":"2023-10-04T16:40:22.344-04:00","content":"\u003cp\u003e\u003cstrong\u003eEd Clark:\u003c/strong\u003e I have a hard time with titling things. That one back there, is called \u003cem\u003eWinter Bitch\u003c/em\u003e. That’s a hell of a name.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e The painter Edward Clark made this work after a five-year stay in Paris, including a particularly cold winter. In an interview with the artist Jack Whitten, Clark describes the city’s influence on his work.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEd Clark:\u003c/strong\u003e I mean New York at that very moment was not considered the capital of the art world—it was Paris.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eClark began using a push broom instead of a brush to move paint around his canvases. He used them to create thick, gestural bands of color, like the blacks and pinks here.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEd Clark:\u003c/strong\u003e The main thing that influenced me in France was the color—the color of the great artists there were more memorable than American color for some reason. There’s something about France—the angle of the sun or something. It gets into your unconscious a little bit. \u003cem\u003eColor\u003c/em\u003e was the French thing.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e This interview is the copyright of \u003cem\u003eBOMB Magazine\u003c/em\u003e, New Art Publications, its Contributors, and Edward Clark. All rights reserved. Edward Clark’s oral history by Jack Whitten can be read in its entirety at bombmagazine.org.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/2546/ENG_784_Clark_edited.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eEd Clark, \u003cem\u003eWinter Bitch\u003c/em\u003e, 1959\u003c/p\u003e"}}}]}}},{"data":{"id":"14311","type":"guide_stop","attributes":{"id":14311,"title":"Jasper Johns, \u003cem\u003eThree Flags\u003c/em\u003e, 1958","title_es":"Jasper Johns, \u003cem\u003eThree Flags\u003c/em\u003e, 1958","stop_number":"791","position":21,"primary_media_id":11079,"guide_id":52,"created_at":"2023-10-17T17:05:07.273-04:00","updated_at":"2025-05-02T11:49:10.594-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/809104/80.32_johns_imageprimacy.jpg","small":{"url":"https://whitneymedia.org/assets/image/809104/small_80.32_johns_imageprimacy.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/809104/medium_80.32_johns_imageprimacy.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/809104/large_80.32_johns_imageprimacy.jpg"}},"cover_media_html":"\u003cimg alt=\"Three American flags on top of each other.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 800 / 542 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/809104/small_80.32_johns_imageprimacy.jpg 512w, https://whitneymedia.org/assets/image/809104/medium_80.32_johns_imageprimacy.jpg 800w\" src=\"https://whitneymedia.org/assets/image/809104/large_80.32_johns_imageprimacy.jpg\" /\u003e","cover_media_description":"\u003cp\u003eJasper Johns, \u003cem\u003eThree Flags\u003c/em\u003e, 1958. Encaustic on canvas (three panels), 30 7/8 × 45 3/4 in. (78.4 × 116.2 cm) overall. Whitney Museum of American Art, New York; purchase, with funds from the Gilman Foundation, Inc., The Lauder Foundation, A. Alfred Taubman, Laura-Lee Whittier Woods, Howard Lipman, and Ed Downe in honor of the Museum’s 50th Anniversary 80.32. © 2021 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), New York\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19612","type":"guide_stop_item","attributes":{"id":19612,"item_type":"audio","item_language":"es","position":1,"guide_stop_id":14311,"media_id":2906,"created_at":"2017-07-10T16:12:45.000-04:00","updated_at":"2020-02-28T18:13:20.346-05:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eScott Rothkopf:\u003c/strong\u003e \u003cspan\u003eSoy Scott Rothkopf, Curador en jefe Familia Nancy y Steve Crown en el Whitney Museum.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003eAhora contemplamos la pintura llamada \u003cspan\u003e\u003cem\u003eThree Flags\u003c/em\u003e\u003c/span\u003e de Jasper Johns. Fue realizada en 1958, alrededor de cuatro años después de que Johns hiciera su primera pintura de una bandera. El artista dijo que pintó una bandera por vez primera porque la soñó y porque le interesaba pintar objetos que, como explicó, “ya fueran conocidos por la mente”. Es decir, aquellos objetos que vemos en nuestra vida cotidiana y que el artista no inventa. En ese sentido, la bandera también formó parte de una serie que incluía blancos, números y otras formas que Jasper Johns no inventó sino que estaban muy presentes en la cultura y las imágenes que lo rodeaban.\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEstas series fueron muy radicales en su época, pues la mayoría de las pinturas que el artista veía y admiraba en Nueva York eran lienzos expresionistas abstractos llenos de trazos agresivos, emocionantes, de marcas bellas y diáfanas que los pintores, supuestamente, hacían directamente en la superficie y que inventaban como una manera de pensar acerca de la representación de un mundo nuevo. En cambio, todos podían reconocer en esta obra de Johns, la bandera, un símbolo muy común.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eNarrator:\u003c/strong\u003e \u003cspan\u003eSi desea escuchar más acerca de la manera en que Johns\u003c/span\u003e \u003cspan\u003eusó la bandera estadounidense, por favor, haga clic para continuar.\u003c/span\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1971/750_Jasper_Johns__Three_Flags.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJasper Johns, \u003cem\u003eThree Flags\u003c/em\u003e, 1958\u003c/p\u003e"}}},{"data":{"id":"19613","type":"guide_stop_item","attributes":{"id":19613,"item_type":"kids","item_language":"en","position":2,"guide_stop_id":14311,"media_id":2823,"created_at":"2017-07-05T16:50:37.000-04:00","updated_at":"2020-02-28T18:09:40.555-05:00","content":"\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMark Joshua Epstein:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;This is a painting called\u0026nbsp;\u003c/span\u003e\u003cem\u003eThree Flags\u003c/em\u003e\u003cspan\u003e\u0026nbsp;that was made in 1958, by the artist Jasper Johns.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 1:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eIt looks like since there are a lot of layers of the American flag, maybe it’s showing that there are a lot of different kinds of people and things in America.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 2:\u003c/strong\u003e \u003cspan\u003eWell, first it looks like an optical illusion to me because it’s big, small, and then smaller.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 3:\u003c/strong\u003e \u003cspan\u003eI think the artist had this idea, like I’m going to make something with the American flag. They just thought it would look cool, they just stacked a couple of American flags on top of each other. I don’t think it has an actual meaning.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMark Joshua Epstein:\u003c/strong\u003e\u003cspan\u003e\u0026nbsp;Jasper Johns talked about the American flag as something we see, but that we don’t look at. What do you think he meant?\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 1:\u003c/strong\u003e \u003cspan\u003eWell, we just kind of just take it for granted. Oh! We see that every day.\u003c/span\u003e\u003c/p\u003e\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eStudent 2:\u003c/strong\u003e \u003cspan\u003eI think they layered it to make it interesting, so you actually look at it closely and read what the sign says and learn about it and actually get into it, rather than just being oh! that’s the American flag. Next picture.\u003c/span\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1928/750_Jasper_Johns__Three_Flags__1958.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJasper Johns, \u003cem\u003eThree Flags\u003c/em\u003e, 1958\u003c/p\u003e"}}},{"data":{"id":"19614","type":"guide_stop_item","attributes":{"id":19614,"item_type":"asl","item_language":"en","position":3,"guide_stop_id":14311,"media_id":426,"created_at":"2017-02-20T12:10:15.000-05:00","updated_at":"2022-11-16T22:30:14.408-05:00","content":"\u003cfigure\u003e\n  \u003cdiv class=\"video-embed-wrapper video-embed-wrapper--youtube\" style=\"aspect-ratio: 16 / 9;\"\u003e\u003cdiv id=\"v-920bf8dc-6b42-4eed-bb08-ec2a736e3db7\" class=\"video-embed video-embed--youtube \" data-id=\"Ozpkj0SQgy4\" data-autoplay=\"0\" data-label=\"Jasper Johns, Three Flags | Video in American Sign Language\" data-loop=\"0\" data-muted=\"0\"\u003e\u003c/div\u003e\u003cdiv class=\"video-embed__preview\" style=\"background-image: url(https://i.ytimg.com/vi/Ozpkj0SQgy4/sddefault.jpg);\"\u003e\u003c/div\u003e\u003cbutton class=\"video-embed__play\" type=\"button\" aria-label=\"play\"\u003e\u003c/button\u003e\u003c/div\u003e\n\n\u003c/figure\u003e","file":{"url":null},"media_type":"Video","native_media_html":"\u003cfigure\u003e\n  \u003cdiv class=\"video-embed-wrapper video-embed-wrapper--youtube\" style=\"aspect-ratio: 16 / 9;\"\u003e\u003cdiv id=\"v-24c52e48-24f5-4fd2-9206-6e9de507204f\" class=\"video-embed video-embed--youtube \" data-id=\"Ozpkj0SQgy4\" data-autoplay=\"0\" data-label=\"Jasper Johns, Three Flags | Video in American Sign Language\" data-loop=\"0\" data-muted=\"0\"\u003e\u003c/div\u003e\u003cdiv class=\"video-embed__preview\" style=\"background-image: url(https://i.ytimg.com/vi/Ozpkj0SQgy4/sddefault.jpg);\"\u003e\u003c/div\u003e\u003cbutton class=\"video-embed__play\" type=\"button\" aria-label=\"play\"\u003e\u003c/button\u003e\u003c/div\u003e\n\n\u003c/figure\u003e"}}},{"data":{"id":"19615","type":"guide_stop_item","attributes":{"id":19615,"item_type":"audio","item_language":"en","position":4,"guide_stop_id":14311,"media_id":1516,"created_at":"2017-04-20T16:17:11.000-04:00","updated_at":"2024-08-07T11:10:11.907-04:00","content":"\u003cp\u003e\u003cstrong\u003eScott Rothkopf:\u0026nbsp;\u003c/strong\u003eWe’re looking at a painting called \u003cem\u003eThree Flags\u003c/em\u003e by Jasper Johns.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNarrator:\u0026nbsp;\u003c/strong\u003eScott Rothkopf is the Alice Pratt Brown Director of the Whitney Museum.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eScott Rothkopf:\u0026nbsp;\u003c/strong\u003eIt was painted in 1958, about four years after Johns made his first painting of a flag. He said that he painted a flag the first time because it was something that came to him in a dream and he also was interested in painting things that he said “are things the mind already knows.” That is, things that we see in our daily lives that the artist doesn’t make up. In that sense, the flag was also in a series that also included targets, numbers, and other forms that Johns didn’t invent, but could take right out of the culture and the images that were all around him.\u003c/p\u003e\u003cp\u003eAt the time he did this, it was a really radical act because most of the painting that he would have seen in New York and admired were abstract expressionist canvases that were full of aggressive, exciting, something beautiful and diaphanous marks that painters supposedly made directly on the surface and invented as a way of thinking about picturing a new world. This, by contrast, was something we could all recognize, a flag, a really common symbol.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1797/791_ENG_Updated_Johns_Three_Flags.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJasper Johns, \u003cem\u003eThree Flags\u003c/em\u003e, 1958\u003c/p\u003e"}}}]}}},{"data":{"id":"14312","type":"guide_stop","attributes":{"id":14312,"title":"Jasper Johns, \u003cem\u003eThree Flags\u003c/em\u003e, 1958","title_es":"Jasper Johns, \u003cem\u003eThree Flags\u003c/em\u003e, 1958","stop_number":"791-2","position":22,"primary_media_id":11079,"guide_id":52,"created_at":"2023-10-17T17:05:07.292-04:00","updated_at":"2025-05-02T11:49:10.636-04:00","cover_media_file":{"url":"https://whitneymedia.org/assets/image/809104/80.32_johns_imageprimacy.jpg","small":{"url":"https://whitneymedia.org/assets/image/809104/small_80.32_johns_imageprimacy.jpg"},"medium":{"url":"https://whitneymedia.org/assets/image/809104/medium_80.32_johns_imageprimacy.jpg"},"large":{"url":"https://whitneymedia.org/assets/image/809104/large_80.32_johns_imageprimacy.jpg"}},"cover_media_html":"\u003cimg alt=\"Three American flags on top of each other.\" class=\"image\" draggable=\"auto\" style=\"aspect-ratio: 800 / 542 auto;\" sizes=\"(min-width: 800px) 25vw, 67vw\" srcset=\"https://whitneymedia.org/assets/image/809104/small_80.32_johns_imageprimacy.jpg 512w, https://whitneymedia.org/assets/image/809104/medium_80.32_johns_imageprimacy.jpg 800w\" src=\"https://whitneymedia.org/assets/image/809104/large_80.32_johns_imageprimacy.jpg\" /\u003e","cover_media_description":"\u003cp\u003eJasper Johns, \u003cem\u003eThree Flags\u003c/em\u003e, 1958. Encaustic on canvas (three panels), 30 7/8 × 45 3/4 in. (78.4 × 116.2 cm) overall. Whitney Museum of American Art, New York; purchase, with funds from the Gilman Foundation, Inc., The Lauder Foundation, A. Alfred Taubman, Laura-Lee Whittier Woods, Howard Lipman, and Ed Downe in honor of the Museum’s 50th Anniversary 80.32. © 2021 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), New York\u003c/p\u003e","guide_stop_items":[{"data":{"id":"19616","type":"guide_stop_item","attributes":{"id":19616,"item_type":"audio","item_language":"es","position":1,"guide_stop_id":14312,"media_id":2907,"created_at":"2017-07-10T16:17:02.000-04:00","updated_at":"2020-02-28T18:08:06.076-05:00","content":"\u003cp\u003e\u003cstrong\u003eScott Rothkopf:\u0026nbsp;\u003c/strong\u003e\u003cspan\u003eMuchos han discutido si esta imagen es patriótica o si, de cierta manera, es crítica del gobierno estadounidense. Parte de su atractivo duradero radica en que aún no llegamos a un consenso. Es interesante pensar que ver tantas banderas pudiera evocar desfiles, patriotismo y cierta celebración festiva de la cultura estadounidense y, sin duda, esta pintura fue realizada en un momento muy interesante en la historia del país, cuando imperaba un sentimiento triunfal después de la Segunda Guerra Mundial, así como el temor por la Guerra Fría y la represión de la época de los años cincuenta. En ese contexto, la bandera bien podía parecer casi opresiva, una suerte de imagen exagerada del gobierno estadounidense, del patriotismo, del patrioterismo, que a veces representa algo que no es tan positivo como nos gustaría que fuese.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1972/750.2_Jasper_Johns__Three_Flags.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJasper Johns, \u003cem\u003eThree Flags\u003c/em\u003e, 1958\u003c/p\u003e"}}},{"data":{"id":"19617","type":"guide_stop_item","attributes":{"id":19617,"item_type":"audio","item_language":"en","position":2,"guide_stop_id":14312,"media_id":1517,"created_at":"2017-04-20T16:18:30.000-04:00","updated_at":"2020-02-28T18:16:58.396-05:00","content":"\u003cp\u003e\u003cstrong\u003eScott Rothkopf:\u003c/strong\u003e A lot of people have debated whether this image is patriotic on the one hand or somehow critical of the American government, and part of its enduring appeal is that we just can’t decide. It’s interesting to think that seeing so many flags could recall parades, patriotism, a kind of festive embrace of American culture, and certainly this painting was made at a very interesting time in American history if we think of the triumphant feeling after World War II, as well as the fear of the Cold War, the repression of the 1950s era. In that way the flag could seem almost oppressive in this case, this kind of exaggerated image of American government, of patriotism, of jingoism, which sometimes stands for things that are not quite as positive as we would like them to be.\u003c/p\u003e","file":{"url":"https://whitneymedia.org/assets/audio/1798/20_750-2_-_Jasper_Johns__Three_Flags__1958.mp3"},"media_type":"Audio","native_media_html":"\u003cp class=\"body-medium-bold\"\u003eJasper Johns, \u003cem\u003eThree Flags\u003c/em\u003e, 1958\u003c/p\u003e"}}}]}}}]}}}