Seen in this way, Hopper’s signature brand of noir emanates from the anthropomorphic qualities of his paintings: the lonely midnight diners, the stoic lighthouse, the waking storefronts and shy street corners. Art.com pay us small commissions based on any prints or paintings that you buy as a result of using this website. Edward Hopper’s “11 A.M.,” 1926. ", The Mansard Roof, 1923, watercolor over graphite on paper, Brooklyn Museum, Museum Collection Fund, 23.100, Haskell's House, 1924, watercolor over graphite on paperboard, Gift of Herbert A. Goldstone, 1996.130.2, Hodgkin's House, 1928, oil on canvas, Anonymous Collector, Coast Guard Station, 1929, oil on canvas, Montclair Art Museum, Montclair, New Jersey; Museum Purchase, Picture Buying Fund. Critics admired his deft handling of the medium, straightforward style, and ability to transform vernacular architecture into something beautiful. All prints, paintings and photos included in HopperPaintings.org are provided as an affiliate to Art.com who hold necessary permissions. Born in the rural setting of Nyack, upstate New York in 1882, Hopper began his artistic journey as an illustrator, precociously gifted and painfully introverted. Edward Hopper argued that “Great art is the outward expression of an inner life of the artist, and this inner life will result in his personal vision of the world.”. This ‘automatic restaurant’ became widespread in New York from around 1912, and like a walk in vending machine made any need for human contact redundant, ‘serving’ thousands of customers a day with industrial efficiency. Both carry a sense of intrusion, and perhaps more importantly, a prevailing sense of isolation in spite of their dense urban surroundings. Comparing Office at Night with Summer Evening, it would appear that he made little distinction at all. I will use visual analysis to back up my interpretation of Hopper’s Nighthawks. Ce tableau appartient au courant du réalisme américain. Harris & Ewing, Edward Hopper, New York artist, ca. Caught in the early onset of modernity, with its promises of prosperity and progress, the adrift characters in Hopper’s paintings embody paradoxical feelings of loneliness and unease. For Hitchcock in particular, Hopper’s gaze was like a petri dish from which an infinite number of possible narratives could grow. Many interpretations can be made as to its symbolism and deeper meanings, yet it depicts a time in American history to be remembered. From Williamsburg Bridge [Williamsburg Bridge], 1928, oil on canvas, Lent by The Metropolitan Museum of Art, George A. Hearn Fund, 1937 Photograph © 1989 The Metropolitan Museum of Art. Buildings and trappings of the industrial age tell the story of 20th century urban alienation. Inconsciemment sans doute, j’ai peint la solitude dans la grande ville’. Il est considéé comme l’un des représentants du naturalisme ou de la scène américaine, parce u’il peignait la ie uotidienne des classes moennes. However, as related by Gail Levin in Edward Hopper: An Intimate Biography (New York, 1995), 305, Hopper considered Clamdigger an abysmal failure. Chacune d’elles est un condensé des savoirs hypothétiques, des rêves que nous inspire le fabuleux nom d’Amérique. Edward Hopper, "Chop Suey" analysis. Edward Hopper est considéré comme un des principaux représentants du courant naturaliste ou de la « scène américaine ». Edward Hopper Gas 1940 Not on view; This work resulted from a composite representation of several gasoline stations seen by the artist. New York, 2007, pp. J’ai fort simplifié la scène et agrandi le restaurant. Summer Evening, 1947 by Edward Hopper Courtesy of www.EdwardHopper.net: What distinction did Hopper draw between work and leisure? Almost always pictured in threshold spaces, neither domestic nor public, Hopper’s choice of setting only adds to the sense of alienation. This engaging exhibit at the Phillips Collection presents some of Hopper’s important early works, demonstrating his developing style. Edward Hopper est né à Nyack dans l’état de New-york, un village situé à l’ouest de la rivière Hudson, dans une famille de classe moyenne qui encouragea ses dons artistiques. Edward Hopper, Le Pont des Arts, 1907, Oil on canvas, 23 11/16 x 28 13/16 in. Self-Portrait, 1925-1930, oil on canvas, Whitney Museum of American Art, New York, Josephine N. Hopper Bequest © Heirs of Josephine N. Hopper, licensed by the Whitney Museum of American Art. Edward Hopper frequently represented people as they appeared to him in brightly lit windows seen from passing El trains. Though he tended to focus on the built environment, particularly when it offered a stark contrast between quaint nostalgia and shimmering modernity, Hopper’s ability to capture mood among people is what connects his work so strongly to the optimism and alienation of Pre and Post War America. Le titre français du film Shirley: Visions of Reality est Shirley, un voyage dans la peinture d'Edward Hopper . C'est l'événement de l'automne. Josephine N. Hopper Bequest . Throughout his career, Hopper was fascinated by dramatic lighting and nowhere is this more evident than in his nighttime pictures, where brightly lit interiors contrast with the darkness outside. She’s naked yet wearing shoes. Emptiness and silence pervade Hopper's scenes. Les lignes sont simples et nettes, il n’y a que peu ou pas de personnages - souvent un seul personnage, si personnage il y a - et même dans ce cas, les visages et les poses sont extrêmement basiques. construction painting services 16/05/2020 13:19. The choice of an Automat is clearly no coincidence. Hopper’s paintings frequently utilise equally dramatic compositions of light and dark, adding to their strong sense of narrative and explaining the widespread adoption of his visual language within cinema, particularly by Hitchcock, Antonini and Lynch. Photograph by Robert E. Mates. Soir bleu 1914, Whitney Museum, New York . History of Edward Hopper's Painting Nighthawks (1942) 470, 472, notes that this work was started in Cape Cod in the summer and finished in New York in October 1953. Edward Hopper’s artwork is known for its realistic scenes that touch themes of isolation and self-being rather than a narrative context. Closed, Sculpture Garden Une femme vieille, seule, assise sur son lit face à la fenêtre et au soleil. Although Hopper's etchings are primarily drawn from urban subjects, he chose watercolor to depict his early small-town or rural images. The light in this painting—both natural and artificial—gives the scene of a gas station and its lone attendant at dusk an underlying sense of drama. 2nd rev. Art.com pay us small commissions based on any prints or paintings that you buy as a result of using this website. The voyeuristic possibilities inherent in the modern city, where people lived in close proximity but often with anonymity—are especially apparent at night. Gas, 1940 by Edward Hopper Courtesy of www.EdwardHopper.net: The highway apparently ends here, disappearing into the woods - not a promising location for a gas station. « Hopper peint la profonde banalité d’un paysage suburbain avec les égards dignes d’une scène sacrée. Automat, 1927. Gas 1940, MOMA, New York . 470, 472, notes that this work was started in Cape Cod in the summer and finished in New York in October 1953. Nighthawks d’Edward Hopper est l’un des tableaux les plus détournés du XXe siècle. Along the coast of Maine, where Hopper visited in the late 1920s, he painted lighthouses, solitary beacons amid the landscape. As the artist plainly remarked later in his career, "What I wanted to do was to paint sunlight on the side of a house. Le tableau "Western Motel" d'Edward Hopper prend vie à travers une reproduction grandeur nature: Il est même possible d'y passer la nuit. Soir Bleu, painted by Hopper in 1914 in Paris, France, is the most peculiar among all Hopper’s works, and at that early stage of his career, his most ambitious one. For Hopper, however, architecture was never reducible to mere form—it always remained in dialogue with nature. Les peintures d'Edward Hopper (1882-1967) ont la simplicité trompeuse des mythes, l'évidence des images d'Epinal. By Joyce Carol Oate s. August 20, 2012 . Painters Painting: The Definitive Documentary Portrait of the New York Art World (1940-1970) Whitney Museum Puts Online 21,000 Works of American Art, By 3,000 Artists. Les peintures d’Edward Hopper (1882-1967) ont la simplicité trompeuse des mythes, l’évidence des images d’Epinal. Everyone, that is, except Edward Hopper, who kept his studio light on and kept on painting beneath it. (interprétation par une personne anglophone) Edward Hopper (1882-1967) Edward Hopper est un peintre et graveur américain. Edward Hopper (22 juillet 1882 - 15 mai 1967) fut un peintre amricain qui ds trs tt, simposa dans une tendance raliste et puis, postmoderniste. Just as he in New England shunned dominant artistic motifs, Hopper disregarded many Jazz Age subjects—soaring skyscrapers, bustling streets, and industrial machinery—favored by American modernists. Summertime, détail . The paintings are restrained and his interpretation of the city is a bit streamlined. À ce sujet il disait : « Si vous pouviez le dire avec des mots, il n’y aurait aucune raison de peindre ». The paintings are restrained and his interpretation of the city is a bit streamlined. Full of intrigue and mystery, Hopper's lighthouses surpass their utilitarianism and assume a commanding presence—no longer mere incidental structures like those in the seascapes of other artists. Encouraged by his fellow art student and future wife Josephine (Jo) Nivison, Hopper began using watercolor in earnest when summering in Gloucester, Massachusetts, in the early 1920s. Hopper frequently depicted stolen glances from fast-moving elevated trains and glimpses from windows into neighboring buildings, where figures are busy with their own private concerns, unaware or unconcerned that they are being watched. A powdered prostitute, a white-faced clown, a military man in epaulettes, a bearded bohemian and a pair of slumming aristocrats impose on one another’s space but do not interact. In the painting we see a solitary woman sitting at a table, staring into her cup of coffee with an air of quiet despair. Writing comforts her, bringing happiness and detachment. Sightseeing should be more than learning dates and … The Estate of Edward Hopper and their presence hold all necessary copyrights and licences for all of his paintings and other works. Compare for example, the parallels between Hopper’s 1928 painting Night Window and the film’s character of Miss Lonelyhearts. Edward Hopper accentuated the discomfort by stretching the distance between the stools and by rendering the coffee urns with glistening detail. His spare but highly planned renderings reflected his vision of modern American life. And though New York architecture rose to great new heights, Hopper favored instead a horizontal compositional format more closely linked to landscape traditions. If there is a single work to sum up Hopper’s evocative use of light, his cinematic sense of narrative and unflinching portrayal of urban isolation, it might well be Automat. Edward Hopper argued that “Great art is the outward expression of an inner life of the artist, ... analysis art Edward Hopper explained featured interpretation interview meaning paintings symbols. Chacune d’elles est un condensé des savoirs hypothétiques, des rêves que nous inspire l’Amérique. He was born in the town of Nyack in 1882, the second of two children in a middle-class Baptist family of Dutch descent. Death and Legacy . © 2020 National Gallery of Art   Notices   Terms of Use   Privacy Policy. Sun in an Empty Room, 1963, by Edward Hopper. Although Hopper regularly visited New England, Greenwich Village (where he lived in the same apartment from 1913 until his death in 1967) was home, and New York set the stage for many of his most iconic paintings. Glowing fluorescent or electrical lights, which illuminate windows and spill onto otherwise darkened street, set the tone for many of Hopper's paintings and imbue the works with an air of mystery. Indeed, Hopper's New York is at once instantly recognizable and strangely unfamiliar: streets are devoid of pedestrians, stores are without customers, and even automats—modern restaurants in which coin-operated, food-dispensing machines replaced waiters—lack signs of anything automatic. ANALYSE D’ŒUVRE * Analyse plastique * Contextualisation * Interprétation SON PARCOURS Edward Hopper naît le 2 Juillet 1882 à New York. ed. For an interpretation of other pictures from the 19th and 20th centuries, see: Analysis of Modern Paintings (1800-2000). The portability of the medium allowed Hopper to paint outdoors, where he favored local architecture to the picturesque coastal scenes that had made the region a popular artists' colony. Published by Rosita Auriemma. Conférence, 2013, 36, pp.311-357. Painted in 1914, Blue Night takes place in a Parisian café. Edward Hopper, "Chop Suey" analysis Friday, April 1, 2011. In his later teens he enrolled at the New York School of Art where he transitioned to watercolours and oils under the tutelage of William Merrit Chase and Robert Henri. Edward Hopper (XIV) – An early and quite queer masterwork: Soir Bleu. Edward Hopper. Edward Hopper said that Nighthawks was inspired by “a restaurant on New York’s Greenwich Avenue where two streets meet,” but the image—with its carefully constructed composition and lack of narrative—has a timeless, universal quality that transcends its particular locale. In 1915 he discovered etching, a medium that made economic sense (multiple prints could be sold of a single image) and also permitted the artistic freedom he craved. From the single glove she wears, to her clothing, make-up, body language and facial expression, Hopper creates a richness sense of character that has invited endless speculation and interpretation. Edward Hopper: Gas (Oil on Canvas~1940) Edward Hopper was an artist in the Realist tradition, painting passionately his interpretation of the American scene. These coastal communities were popular destinations for artists, but the independent-minded Hopper remained distant from his colleagues, dryly noting, "[W]hen everyone else would be painting ships and the waterfront, I'd just go around looking at houses." Edward Hopper (July 22, 1882 – May 15, 1967) was an American realist painter and printmaker. His wife Jo called him an apathetic bear. On peut notamment y lire une charge érotique, lui qui était si réservé, mais aussi l'absence, surtout à la fin de sa vie et bien entendu la mort ! Chop Suey (1929) is a painting by Edward Hopper.The foreground of the work portrays two women in conversation at a restaurant. Presentation. Save this story for later. Edward Hopper said that Nighthawks was inspired by "a restaurant on New York's Greenwich Avenue where two streets meet," but the image, with its carefully constructed composition and lack of narrative, has a timeless quality that transcends its particular locale. Early Sunday Morning, 1930, oil on canvas, Whitney Museum of American Art, New York, Purchase, with funds from Gertrude Vanderbilt Whitney Photograph by Steven Sloman. Expression des sentiments les plus poignants, ou pures constructions mentales, ces peintures donnent lieu aux interprétations les plus contradictoires. Ainsi nombre d’artistes ou réalisateurs l’invoquent-ils comme source d’inspiration. Il en disait : ‘Nighthawks’ montre comment je m’imagine une rue pendant la nuit, pas nécessairement quelque chose de particulièrement solitaire. Edward Hopper Soir Bleu shows a loneliness in the crowd. To some experts it is also one of the best. New York, 2007, pp. 1937. Edward Hopper, Night Window, 1928. C’est tout l’art d’Edward Hopper. His paintings reflect a certain nostalgia for what America was. 7th St and Constitution Ave NW He’s … All prints, paintings and photos included in HopperPaintings.org are provided as an affiliate to Art.com who hold necessary permissions. The aesthetic key of Edward Hopper’s paintings is the “horizontality” of the lines, in a combination of selected scenarios and light. Chacune d'elles est un condensé des savoirs hypothétiques, des rêves que nous inspire le fabuleux nom d'Amérique. halshs- 00940568 1 Revue Conférence, n°36, printemps 2013, p. 311-357. He rendered these houses with dramatic light and often in isolation. Life has always been all about how we interpret it. Lacking buyers for his canvases, Hopper reluctantly worked as a commercial illustrator. Hopper's etchings signal themes the artist would explore throughout his career: isolated figures, empty streets, strong contrasts between light and shadow, and the play of sunlight on architecture. Gas, 1940, oil on canvas, The Museum of Modern Art, New York, Mrs. Simon Guggenheim Fund, 1943 Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY. Accueil » Interprétations » = PEINTRES = » Hopper » Soir bleu Soir bleu. Edward Hopper, Le Pont des Arts, 1907, Oil on canvas, 23 11/16 x 28 13/16 in. For an interpretation of other pictures from the 19th and 20th centuries, see: Analysis of Modern Paintings (1800-2000). In other works, the presence of additional figures—a fellow diner, traveller, colleague, or spouse—only renders the isolation more acute by unfulfilled promises of true companionship. A travers ses œuvres, il dénonce la perte d’identité d’une Amérique devenue trop pressée à son goût. Libre cours à l’interprétation, pas de version officielle, à chacun son scénario. Over the years when prompted, he offered several explanations for his paintings, often defining them in personal terms: "Great art," he wrote, "is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world. Automat, 1927, oil on canvas, Des Moines Art Center Permanent Collections; Purchased with funds from the Edmundson Art Foundation, Inc. Des Moines Art Center Permanent Collections. Photograph by Michael Tropea, Chicago. Edward Hopper was born in the small town of Nyack, forty miles north of New York City, on 22nd July, 1882. Hopper's painting represents a borderline situation. Office at Night, 1940, oil on canvas, Collection Walker Art Center, Minneapolis; Gift of the T.B. After studying commercial illustration for two years he decided to study painting at the New York School of Art (1900-1906). Nighthawks, 1942, oil on canvas, The Art Institute of Chicago, Friends of American Art Collection, 1942.51 Reproduction, The Art Institute of Chicago. Up to that point, only the … Automat, Edward Hopper, 1927 Huile sur toile, 71.5cm x 91.5 cm, Des Moines Art Center, Iowa (Etats-Unis) I. Edward Hopper, ou l’Annonciation suspendue Olivier REY Oui, ce sont là des Annonciations sans théologie ni promesse, mais non sans un reste d’espérance. Edward Hopper – Virtual Tour. La particularité qu’a Edward Hopper par rapport à certains artistes, c’est qu’il ne présente que peu de difficultés à reproduire. The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. Both in his urban and rural scenes, his spare and finely calculated renderings reflected his personal vision of modern American life. On the one hand these paintings are set-like representations of archetypal American vernacular: gas stations, diners, motels and movie theatres, but arguably their greatest potency derives from the way in which Hopper takes these quotidian settings and transplants his own mental state within them. Edward Hopper set up his studio in New York and quickly became recognised as one of the best Realist painters as his canvasses revealed the daily life of his compatriots. Hopper’s influence on the art world and pop culture is undeniable. Edward Hopper said: “My aim in painting is always, using nature as the medium, to try to project upon canvas my most intimate reaction to the subject as it appears when I like it most; when the facts are given unity by my interest and prejudices. Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. These formative years are particularly important here, given that Hopper always maintained his paintings reflected a very personal, and sometimes imagined, experience of the world. Edward Hopper: An Intimate Biography. Just as the power of Hopper’s paintings lies in what he chooses to exclude, so the tension and spectacle in Hitchcock’s Rear Window relies on what is obscured or unseen. Hopper's earliest artistic success came by way of his watercolors and etchings, rather than the oil paintings for which he is now best known. Edward Hopper (1882-1967 ) ... Ses toiles sont donc suggestives et l'invitation à une interprétation bien plus qu'une banale reproduction du quotidien. Stay up to date about our exhibitions, news, programs, and special offers. Automat est un tableau peint Edward Hopper en 1927. Les peintures d’Edward Hopper ont la simplicité trompeuse des mythes, l’évidence des images d’Epinal. Le tableau "New York Movie" d'Edward Hopper, peint en 1939 + On a un peu triché. Analyse de l'oeuvre d'edward hopper 'room in new york' ... Interprétation * Dans la chambre à New York, 1932, c'est la nuit, un homme lit un document à une table ronde, une femme se détourne de sa propre absorption et de l'ennui, de toucher le clavier de piano avec un seul doigt. Oil on canvas, … Tout dépend de nous quand on contemple "Morning Sun" d’Edward Hopper. 1) L’œuvre. L’art à part d’Edward Hopper Par Philippe Lançon — 5 octobre 2012 à 21:56. In Gas, a scene from Truro, a lone attendant adjusts the nozzle at a deserted rural filling station. Edward Hopper’s Nighthawks is fairly simple, illustrating a snapshot of a moment in time at a late-night diner in the city, and yet, it speaks volumes. Few artists immortalise the zeitgeist like American painter Edward Hopper. ", Sunday, 1926, oil on canvas, The Phillips Collection, Washington, DC. Edward Hopper (1882-1967) ... Elle les distingue des scènes mythologiques ou religieuses du passé dont l’interprétation ne peut dévier du récit religieux connu de tous. Evidence of Hopper’s influence can be found throughout Hitchcock’s oeuvre, but especially his 1954 classic Rear Window. Edward Hopper saw modern life in 1925 as isolating, a time we look back on as so much simpler. Light, the main character of Hopper paintings, covers and discovers buildings, people, recreating the absolute in the scenes and transmitting those silent moments full of life. West Building Save this story for later. [1st ed., 1995]. Photograph by Robert Hashimoto. Hopper's paintings invite endless interpretation; they have been variously described as representations of loneliness, alienation, melancholy, or solitude. Hopper, however, cast doubt on such readings, noting, "the loneliness thing is overdone." Both frame solitary, partially nude woman within the privacy of their own bedrooms. 11 septembre 2001. sémiotique du sourire : la joconde de Vinci Commenter cet article. For an interpretation of other pictures from the 19th and 20th centuries, see: Analysis of Modern Paintings (1800-2000). Hopper's paintings invite endless interpretation; they have been variously described as representations of loneliness, alienation, melancholy, or solitude. The real *House By The Railroad* was filled with friendly, welcoming people. He had a penchant for architectural styles of past centuries, especially the Victorian with its heavy ornamentation and mansard roofs. ... Interprétation picturale de l'Ecclésiaste. Hopper est ainsi le grand spécialiste de la scène de genre occidentale placée dans un paysage urbain. This would doubtless have contributed to Hopper’s view of a social fabric under threat, slowly eroded by the atomising effects of modernity. Under sterile lights (reflected as hanging orbs in the pitch-black window behind her) and surrounded by impersonal furniture, she appears lost and adrift in unwelcoming surroundings. Elle semble méditer, comme prise dans le tourbillon de la réminiscence et de la nostalgie. 6th St and Constitution Ave NW These notions are set against a backdrop of internal conflict between the characters depicted and the place in which they have found themselves. Edward Hopper, ou l’Annonciation suspendue. In etchings and watercolours, but most notably in his oil paintings, Hopper presents cinematic renderings of a nation in the midst of seismic transition. In Nighthawks, as in most of Hopper's work, inanimate objects dominate. His father owned a dry goods store where Hopper sometimes worked as a teen. Edward Hopper (1882-1967) ... offrant une grande liberté d’interprétation au spectateur. Josephine N. Hopper Bequest . Artist: Edward Hopper (1882-1967) Medium: Oil painting on canvas Genre: Genre painting Movement/Style: Realism Location: Art Institute of Chicago. He also avoided signs of the grit, noise, and commotion of urban life, imbuing his portrayals of the city with an overwhelming silence and disquieting stillness. Drug Store, 1927, oil on canvas, Museum of Fine Arts, Boston, Bequest of John T. Spaulding © Museum of Fine Arts, Boston. Wants to think nude. Hotel Room, 1931, oil on canvas, Museo Thyssen-Bornemisza, Madrid © Museo Thyssen-Bornemisza, Madrid. While he is widely known for his oil paintings, he was equally proficient as a watercolorist and printmaker in etching. Walker Foundation, Gilbert M. Walker Fund, 1948. Always a realist painter, and critical of many modernist trends, Hopper nonetheless inched toward abstraction in these simplified compositions that experimented with the interplay of color, form, and light. He often described his art as a “transcription [of his] most intimate impressions of nature” meaning he related the process of painting to that of memory. Hopper, the man, loves nature and loneliness. We’re at a café in France somewhere. Because I painted The Old Woodie depicting man at a service station (we called them filling stations in those days), many have noted that it reminds them of an Edward Hopper. Edward Hopper. Edward Hopper was a historian who used painting as his medium, instead of the written word, to depict 1940’s American life in his home state, through Nighthawks. Les années 1920-1930 sont très propices au marché de l’art, qui se développe considérablement aux Etats-Unis. She likes anarchists and she hates neon lights. Chop Suey. In this context, the sad and solitary figures that occupy many of his best known works, including Nighthawk, Intermission, Chop Suey and Elevan AM, take on a deeper psychological weight. Il est le fils de Garett Henry Hopper, marchand d’articles de mercerie et descendant de riches commerçants hollandais, et d’Elizabeth Griffiths Smith, une talentueuse artiste amateur. Hopper 1940_Gas. What is the meaning of Nighthawks by Edward Hopper?. Beginning in 1930, Hopper and Jo (who wed in 1924) spent summers on Cape Cod, where the couple eventually built a house and studio in the town of Truro. New York Corner (Corner Saloon), 1913, oil on canvas, Private Collection; Courtesy Fraenkel Gallery, San Francisco, and Martha Parrish & James Reinish, Inc., New York, American Landscape, 1920, etching, Print Purchase Fund (Rosenwald Collection) and Ailsa Mellon Bruce Fund, 1979.64.1, East Side Interior, 1922, etching, 8 Rosenwald Collection, 1949.5.71, Apartment Houses, 1923, oil on canvas, Courtesy of Pennsylvania Academy of the Fine Arts, Philadelphia, John Lambert Fund.
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