View allAll Photos Tagged MultiUse
Oil on canvas
In a city increasingly characterised by multiuse buildings, with shops and other commercial businesses at street level and residences or offices on the floors above, the elevated train brought public transport into the private sphere, transforming domestic spaces into theatres for curious riders. Hopper underscores this distinctive view in Night Windows by devoting the lower third of his painting to the tops of the darkened windows below. Such views continued to inspire Hopper for years, even after the city began dismantling the elevated tracks in the late 1930s and the El increasingly came to represent a nostalgic idea of old New York, as opposed to the "Wonder City" of skyscrapers and subways.
[Whitney Museum of American Art]
Taken in the exhibition
Edward Hopper’s New York
(October 2022 – March 2023)
For Edward Hopper, New York was a city that existed in the mind as well as on the map, a place that took shape through lived experience, memory, and the collective imagination. It was, he reflected late in life, “the American city that I know best and like most.”
The city of New York was Hopper’s home for nearly six decades (1908–67), a period that spans his entire mature career. Hopper’s New York was not an exacting portrait of the twentieth-century metropolis. During his lifetime, the city underwent tremendous development—skyscrapers reached record-breaking heights, construction sites roared across the five boroughs, and an increasingly diverse population boomed—yet his depictions of New York remained human-scale and largely unpopulated. Eschewing the city’s iconic skyline and picturesque landmarks, such as the Brooklyn Bridge and the Empire State Building, Hopper instead turned his attention to its unsung utilitarian structures and out-of-the-way corners, drawn to the awkward collisions of new and old, civic and residential, public and private that captured the paradoxes of the changing city. Edward Hopper’s New York charts the artist’s enduring fascination with the city, revealing a vision of New York that is as much a manifestation of Hopper himself as it is a record of the city around him.
Edward Hopper’s New York takes a comprehensive look at Hopper’s life and work, from his early impressions of New York in sketches, prints, and illustrations, to his late paintings, in which the city served as a backdrop for his evocative distillations of urban experience. Drawing from the Whitney’s extensive holdings and amplified by key loans, the exhibition brings together many of Hopper’s iconic city pictures as well as several lesser-known yet critically important examples. The presentation is significantly informed by a variety of materials from the Museum’s recently acquired Sanborn Hopper Archive—printed ephemera, correspondence, photographs, and journals that together inspire new insights into Hopper’s life in the city. By exploring the artist’s work through the lens of New York, the exhibition offers a fresh take on this formidable figure and considers the city itself as a lead actor.
[Whitney Museum of American Art]
Taken in Manhattan
I planned on riding the Sharp's Ridge trail this afternoon, but when I arrived at the Hanover Access, there was a mini excavator and workers doing maintenance, So I rode over to the Lower parking lot and there was a sign up there. I did manage to get 4.3 miles in on the bike, As I was riding home, it lightly sprinkled. Then it rained heavier a little later.
Sharp's Ridge Lower parking lot
Knoxville, Tennessee
Tuesday, July 1st, 2025
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Sunday we walked 5km along the Esquimalt & Nanaimo Rail Trail from Hallowell Road northwest to Helmcken Road. The plan was to walk northbound along the trail to see how work is progressing at Dunsmuir's Cut at the Four Mile railway bridge.
Work is proceeding at an exponential rate since we were there two-weeks ago. What a fine job of engineering and workmanship the contractor is producing in the course of completing this 10-mile (16km) long, multi-use trail beside the E&N railway tracks.
It was another beautiful, spring-like day in Victoria at a sunny, 11°C (52°F). We topped our outing off with lunch at the Four-Mile Pub (with pictures-to-prove-it).
View of West Toronto Railpath from Wallace Street pedestrian bridge.
Photo by Scott Torrance Landscape Architect Inc. (Copyright 2009)
Wilkinson Road new bridge and trail improvements. Seems cyclists and pedestrians can share the trail
Oil on canvas
In a city increasingly characterised by multiuse buildings, with shops and other commercial businesses at street level and residences or offices on the floors above, the elevated train brought public transport into the private sphere, transforming domestic spaces into theatres for curious riders. Hopper underscores this distinctive view in Night Windows by devoting the lower third of his painting to the tops of the darkened windows below. Such views continued to inspire Hopper for years, even after the city began dismantling the elevated tracks in the late 1930s and the El increasingly came to represent a nostalgic idea of old New York, as opposed to the "Wonder City" of skyscrapers and subways.
[Whitney Museum of American Art]
Taken in the exhibition
Edward Hopper’s New York
(October 2022 – March 2023)
For Edward Hopper, New York was a city that existed in the mind as well as on the map, a place that took shape through lived experience, memory, and the collective imagination. It was, he reflected late in life, “the American city that I know best and like most.”
The city of New York was Hopper’s home for nearly six decades (1908–67), a period that spans his entire mature career. Hopper’s New York was not an exacting portrait of the twentieth-century metropolis. During his lifetime, the city underwent tremendous development—skyscrapers reached record-breaking heights, construction sites roared across the five boroughs, and an increasingly diverse population boomed—yet his depictions of New York remained human-scale and largely unpopulated. Eschewing the city’s iconic skyline and picturesque landmarks, such as the Brooklyn Bridge and the Empire State Building, Hopper instead turned his attention to its unsung utilitarian structures and out-of-the-way corners, drawn to the awkward collisions of new and old, civic and residential, public and private that captured the paradoxes of the changing city. Edward Hopper’s New York charts the artist’s enduring fascination with the city, revealing a vision of New York that is as much a manifestation of Hopper himself as it is a record of the city around him.
Edward Hopper’s New York takes a comprehensive look at Hopper’s life and work, from his early impressions of New York in sketches, prints, and illustrations, to his late paintings, in which the city served as a backdrop for his evocative distillations of urban experience. Drawing from the Whitney’s extensive holdings and amplified by key loans, the exhibition brings together many of Hopper’s iconic city pictures as well as several lesser-known yet critically important examples. The presentation is significantly informed by a variety of materials from the Museum’s recently acquired Sanborn Hopper Archive—printed ephemera, correspondence, photographs, and journals that together inspire new insights into Hopper’s life in the city. By exploring the artist’s work through the lens of New York, the exhibition offers a fresh take on this formidable figure and considers the city itself as a lead actor.
[Whitney Museum of American Art]
Taken in Manhattan
Henderson Lake Park as night falls over Lethbridge. Taken while riding home one day last summer before the great move to Edmonton. Looking at this picture now, I'm amazed at how calm the lake is.
#PlotYourPath Through Wintry Scenery - Find 4 miles of ‘Multi-Use Trails’ in winter – walkers are permitted to use trails with dogs on leash and to the side of ski tracks! www.nps.gov/mabi/planyourvisit/winter-trail-usage.htm
(NPS Photo Credit L Shahi)