Born in 1882 and living in New York from 1908 with his wife Jo, Hopper became one of the most respected artist for his engaging relationship with interior space and light as well as the polarity between Nature and Civilization.
Hopper's paintings tend not to offer us extensive panoramas: rather they limit the view - a substitution on an interior space seeing through a window, or window prospects limited by houses or other icons of the civilized world, for an unrestricted view of nature.
The motif of windows in many of his paintings not only register loss but also provide a visual transcript of scrutiny of the inner self - a scrutiny which induces us to examine ourselves.
Hopper's paintings tend not to offer us extensive panoramas: rather they limit the view - a substitution on an interior space seeing through a window, or window prospects limited by houses or other icons of the civilized world, for an unrestricted view of nature.
The motif of windows in many of his paintings not only register loss but also provide a visual transcript of scrutiny of the inner self - a scrutiny which induces us to examine ourselves.
In my opinion, the depression is emphasised within different parts of his artwork, whether its the light, the room, or the expression on the face itself perhaps conveys a different side. A new beginning, a fresh start, a motif that can justify that sorrow and remorse will not bring the end of it all, and no matter how hard things can become on different circumstances, there is always hope that each and one of us must strive for.
"if you can say it in words there would be no reason to paint" - Edward Hopper.
Rolf Gunter Renner, Edward Hopper, 1882-1967: Transformation of the Real, Taschen, 2000
"if you can say it in words there would be no reason to paint" - Edward Hopper.
Rolf Gunter Renner, Edward Hopper, 1882-1967: Transformation of the Real, Taschen, 2000
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