edward hopper new york interior

edward hopper new york interior

Edward hopper new york interior
c. 1921
Estudiante 2: Parece algo sola. Quizás se encontrara en una relación de algún tipo y decidieron separarse.

In “New York Interior,” a woman in a corset and crinolines sits on bed mending as if preparing for a night on the town or the stage. Her outstretched pose is reminiscent of both the ballet dancers and bathers of Degas, whom Hopper admired. One of the Whitney’s least familiar Hoppers is the 1912 “American Village,” in which we look over a window ledge to a luminous patch of street, lined by stores and dotted by people and cars. It could be by Walker Evans.
There is an emphasis on artists to whom Hopper was close: John Sloan (1871-1951), the Ash Can realist who was an important mentor early in his career; Guy Pène du Bois (1884-1958), who flavored his own implicitly classical treatment of the figure with a dash of caricature; and Charles Burchfield (1893-1967), a more visionary interpreter of American life than Hopper, who was also lumped together with American Scene painters (like Benton, Marsh and perhaps Cadmus).

Edward hopper new york interior
A majority of scholars focus on loneliness and alienation as the theme of Hopper’s work. [8] Art historian Pamela Koob points out that the “solitary figures in Hopper’s paintings may well be evocations of such contented solitude rather than the loneliness so often cited.” [9] The evidence for contentedness comes from Hopper’s own notion that a work of art is an expression of the creator’s “inner life” — According to his wife Jo Hopper, he loved his inner life to the point that he could “get on fine without the interruption from other humans.” [10]
Room in New York is a 1932 oil on canvas painting by Edward Hopper that portrays two individuals in a New York City flat. It is currently in the collection of the Sheldon Museum of Art. [1] The painting is said to have been inspired by the glimpses of lighted interiors seen by the artist near the district where he lived in Washington Square. [2]

Throughout his life Hopper stated that his art was not an exact transcription of nature; it was a condensation of many scenes and impressions. “I’m always at a loss when asked for facts about any of my pictures or to describe how any one of them came to be made,” he told Lloyd Goodrich. “It is so often a very complicated mental process that would not interest people.” Hopper’s art depended on memory as well as inspiration. He searched for a typical scene, not a unique one, and found he frequently had to cull from a number of experiences and reduce them to a common denominator to make his art. The real world was often too unique, and a specific locale frequently did not render the commonality of the true “American scene,” a term he later learned to hate because it became associated in many people’s minds with a nostalgic and Romantic view of the world. His description to Lloyd Goodrich of the origins of Room in New York (1932) underscores his method of creation:

The idea for Room in New York had been in my mind a long time before I painted it. It was suggested by glimpses of lighted interiors seen as I walked along the city streets at night, probably near the district where I live (Washington Square), although it’s no particular street or house, but it is rather a synthesis of many impressions.“

Edward hopper new york interior
Hopper’s cinematic compositions and dramatic use of light and dark has made him a favorite among filmmakers. For example, House by the Railroad is reported to have heavily influenced the iconic house in the Alfred Hitchcock film Psycho. [110] The same painting has also been cited as being an influence on the home in the Terrence Malick film Days of Heaven. The 1981 film Pennies from Heaven includes a tableau vivant of Nighthawks, with the lead actors in the places of the diners. German director Wim Wenders also cites Hopper influence. [71] His 1997 film The End of Violence also incorporates a tableau vivant of Nighthawks, recreated by actors. Noted surrealist horror film director Dario Argento went so far as to recreate the diner and the patrons in Nighthawks as part of a set for his 1976 film Deep Red (aka Profondo Rosso). Ridley Scott has cited the same painting as a visual inspiration for Blade Runner. To establish the lighting of scenes in the 2002 film Road to Perdition, director Sam Mendes drew from the paintings of Hopper as a source of inspiration, particularly New York Movie. [111]
Painting will have to deal more fully and less obliquely with life and nature’s phenomena before it can again become great. [65]

Edward hopper new york interior
Is he a cliché? That’s the question you keep coming back to when you look at the paintings of Edward Hopper. On the face of it, the current show at the Whitney Museum of American Art, “Modern Life: Edward Hopper and His Time,” doesn’t help answer the question. The show gives us paintings like “Soir Bleu” from 1914. We’re at a café in France somewhere. Patrons sit at the tables. Right there in the middle, facing us, is a clown. He is wearing a white, frilly get-up and his face is painted white, too, with red lips and a couple of red stripes down the eyes. He is smoking a cigarette. This may, in fact, be the sad clown we’ve all heard so much about. I’ve toyed with the idea that “Soir Bleu” is making fun of itself. Or maybe it is making fun of us, the viewer? But, no. Hopper is a painter without any sense of humor, which is a troubling fact. He paints without wit, without self-awareness. We may have to accept the fact that Hopper painted the sad clown smoking a cigarette in the café because he felt it to be a poignant scene. He was so moved by the depressed clown that he went and painted one of the silliest paintings of the era.
The fact that so many of Hopper’s paintings make good postcards and prints makes the worry about cliché even stronger. His most famous painting, “Nighthawks” (not included in the Whitney show), the one with the people sitting in a diner late at night, has become global kitsch. Everyone has seen the version with James Dean and Marilyn Monroe, or the thousand and one different puns and knock-offs that resonate throughout popular culture. The accessibility and near-universal appeal of that painting, like so much of Hopper, starts to make a person suspicious. The common denominator of such work must be pretty low if the painting works in a video game or on a TV show without even missing a beat.

Edward hopper new york interior
An Old Fashioned Diner/ Soda Jerk Counter Print
Chop Suey Print