Edward Hopper 1882-1967: transformation of the real by Rolf Günter Renner

By Rolf Günter Renner

Edward Hopper (1882-1967) is taken into account the 1st major American painter in 20th-century paintings. After a long time of sufferer paintings, Hopper loved a hit and recognition that because the Fifties has consistently grown. In canvas after canvas he painted the loneliness of big-city humans. lots of Hopper's images symbolize perspectives of streets and roads, rooftops, and deserted homes, depicted in an excellent gentle that unusually belies the depression temper of the scenes. Hopper's work are marked by means of remarkable juxtapositions of color, and via the transparent contours with which the figures are demarcated from their atmosphere. His tremendous certain specialise in the subject matter of recent women and men within the usual and man-made surroundings occasionally lends his photos a temper of eerie disquiet. nevertheless, Hopper's renderings of rocky landscapes in hot brown colors, or his depictions of the seacoast, exude an strange tranquillity that unearths one other, extra confident facet of his personality.

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New York. Special Collection. Library. 6 Collection of Whitney Art. 61 New of American York. 8 High Noon, 1949 Oil on canvas. 3 The Dayton Art cm Institute. Ohio. Gift of Mr. and Mrs. Anthony Has well Cape Cod Morning, 1950 Oil on canvas. 9 National Museum cm of American Art. C..

Hopper's art. We Sometimes see this process at it appears in work time and again trivial, anecdotal form, as in the 1923 etched version of Railroad Crossing, which shows a ing with a cow at a in man wait- closed crossing, the two figures framed by a tele- graph pole and a large stop sign. Another etching, American Landscape (p. 32), treats the same motif in emblematic style: in this view the track cuts across the picture horizontally, and a herd of cattle are about to cross it, moving from the pasture (Nature's territory) to the realm of Civilization (denoted by the house).

47) is comparable in its choice of Again Hopper uses a defamiliarized view outside: through the outsize motel movie suggest a certain se- in isolated situations, situations that also and snug protection; but motif. work painted in 1963: different. In Compartment later York Movie his subject was the solitary absorption of been turned inside setting. view; she sitter from where she (judging by her indifference) has no need of the illusions and es- capism tion. cinema audito- is windows we But the see what looks like the archetypal Western woman on the bed sitting is not gazing turned towards us, and the overall effect at the of a portrait is seen against a landscape frozen into a mere background.

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