edward hopper room in new york

Throughout his life Hoppper 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.

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.“

However, we remember that Edward Hopper is first recognized nowadays as the painter of the ordinary life in America… does it mean that the American way of life is lonely ? That is what could another painting by the artist, New-York Office , showing us loneliness at work , make us imagine .
Edward Hopper, Hotel by a Railroad , 1952, oil-on-canvas, 101,9 x 79,3 cm, private collection

The above painting by Edward Hopper , the great American realist of the inter-war era is certainly not his best but certainly symptomatic of the vital concerns of his art, which as I am getting acquainted with, are as important now as they were decades ago. In fact, while his influence was on the wane in America after the second war ended, he began to get more resurgent towards the end of the sixties, near his death. The social, political and existential cultural interpretations of his paintings are equally important now as they were before.
The man seems lost in the paper, as if deliberately, self-consciously and the woman is actually making a concerted effort to shield herself. She is reading or holding a book, a book that holds no interest for her, I think. However, there is a muted restraint between the two, a restrain born of respectable indifference. It may however be that the two are not in any relationship past or present but are simply waiting for someone else though in that case, the two seem to be representative of that class which is busy with itself alone, keeping in march with the relentless march of ruthless alienating capitalism.

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We think the people are back form work, maybe ten minutes ago. The man is inexpressive and he is reading a newspaper. The woman is bored , she is not really playing the piano, she is just touching the keys. They look sad. Maybe they are waiting for the dinner.
Publié le 9 juin 2010 par saintjocaudan

The windows of Hopper’s second-floor bedroom face the Hudson River, a short walk from the house. Even with the hellish traffic caused by the upgrading of the Tappan Zee Bridge (an eyesore under normal circumstances), it is not hard understanding Hopper’s earliest inspiration. In the center of the room sits the Center’s most recent acquisition: a large table that Hopper made himself. A New York University staff member rescued the table from the trash outside of Hopper’s studio following the death of his wife, Josephine, in 1968. Tables weren’t the only things that Hopper built.
Edward Hopper’s work can be gazed upon all over New York City and throughout the ti-state area, from the Metropolitan Museum of Art to the Whitney Museum of American Art, the Brooklyn Museum, Hartford’s Wadsworth Athenaeum, the Princeton University Gallery, the Yale University Art Gallery, and the MoMA. But two places are particularly integral to understanding his work: his Westchester County childhood home and his New York City studio.

References:

http://www.edwardhopper.net/room-in-new-york.jsp
http://artmiens.wordpress.com/2016/02/19/room-in-new-york-by-edward-hopper/
http://disquietthoughts.blogspot.com/2008/08/room-in-new-york.html?m=1
http://www.reproduction-gallery.com/oil-painting/1198881945/room-in-new-york-1932-by-edward-hopper/
http://american-art-in-caudan.over-blog.com/article-edward-hopper-room-in-new-york-51957591.html
http://theculturetrip.com/north-america/usa/new-york/articles/a-look-at-edward-hoppers-new-york-house-and-studio/
http://artgallery.yale.edu/collections/objects/52939