edward hopper morning sun
She faces the window which is allows a stream of sunlight into the room. The woman sits almost impassively, looking out on the scene before her, almost lost in thought and contemplation.
The light in Morning Sun, is predominantly on the woman’s body. The observer can clearly see that the sun is warming up hr arms, legs and face, that she is almost bathed in the warmth of the sun.
Acknowledged as one of the great American painters, Hopper (1882-1967) spent a lifetime pursuing light in his thoughtful and emotionally resonant paintings. Columbus is very lucky to own Morning Sun (1952, oil on canvas, 28” by 40”); the painting is considered one of Hopper’s best, so much so that it has been lent to numerous exhibitions.
February 22, 2018
In the book Realism by Kerstin Stremmel, which is part of the Taschen’s Basic Art movement and genre series, the author draws attention to two features in the painting:
☛ Columbus Museum of Art: “Morning Sun” by Edward Hopper, oil on canvas, 28 1/8 x 40 1/8″, 1952. Large format retrieved from NPR.
And I mean, that’s kind of all the dude did. That’s not a bad thing, either. Of course it wasn’t always on the side of a house, but like a moth to a flame, Hopper always gravitated toward the presence of light. Morning Sun is no exception.
If you are planning to see an artwork, please keep in mind that while the art we cover is held in permanent collections, pieces are sometimes removed from display for renovation or traveling exhibitions.
Light is inseparable from architecture in a 1913 stage set of a picture called “New York Corner, or Corner Saloon.” The mood they generate is the main character on that stage. All these elements would be combined in famous later paintings like “Nighthawks” (1942) — the show enshrines that one in a room labeled “Icons” — but the mechanics were in place three decades earlier.
The show is billed as a retrospective, but it isn’t. Significant pieces of Hopper’s output are missing: the paintings done in Paris from 1906 to 1910; all but a few of his many drawings; and most of what he produced as a commercial illustrator in the long years before he became a star.
Carter Foster: These three drawings are for a painting called Morning Sun that Hopper painted in 1952. What’s amazing about these is we can really see his wife Jo’s features in the first drawing with all the color notations on it, and then we start to see her features become erased as Hopper makes her into a more generalized everywoman.
So the first drawing where Hopper was carefully recording the way that the colors interacted with light, we can recognize Jo’s features. In the second drawing, we can recognize her features but they become more mask-like, more obliterated by the sunlight that’s coming in and hitting her face.
Office at Night depicts a woman and a man alone in an office. The woman, ostensibly the secretary, stands at a filing cabinet looking at a piece of paper that seems to have just fallen on the floor. The man at the desk seems oblivious to her. A shaft of light pours in through the window. In the lower left corner of the image there is a typewriter, indicative of functionality and perhaps, the woman’s role. Hopper elevates what might be a simple scene of everyday life within an office through an extremely raised angle of perspective. The psychological tension between the figures depicted within the room is achieved through the resultant compression of space which limits the figures’ ability to move about.
The Corcoran Gallery of Art