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Seven Videos Explain How Edward Hopper’s Paintings Expressed American Loneliness and Alienation
Though born in the late 19th century and partially shaped by a few sojourns to Europe, Edward Hopper was an artist fundamentally of early 20th-century America. He took life in that time and place as his subject, but he also once said that “an artist paints to reveal himself through what he sees in his subject,” meaning that he in some sense embodied early 20th-century America. Royal Academy of the Arts Artistic Director Tim Marlow quotes that line in the 60-second introduction to Hopper above, then points to a common thread in the painter’s “enigmatic works”: a “profound contemplation of the world around us” that turns each of his paintings into one captured “moment of stillness in a frantic world.”
Much of Hopper’s work came out of the Great Depression, “a period of great uncertainty and anxiety, but also a time of deep national self-imagination about the very idea of American-ness.” To look at the figures who inhabit Hopper’s thoroughly American settings — a gas station, a hotel room, inside a train car, an all-night diner — self-reflection would seem to be their main pastime.
“A woman sits
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Edward Hopper (American, 1882 – 1967)
Few painters can claim the strange alchemy of mixtures that attended the career of Edward Hopper. The term always hung on his work was “Realist,” and yet no admirer has failed to notice the magical, uncanny quality to his scenes. Indeed, when the Whitney Museum launched their new building in 2015, the inaugural exhibition of the permanent collection placed Hopper’s masterpiece, Early Sunday Morning (1930) in a gallery themed as “surrealism.” His artistic training and his picture-making technique were rooted in the Ash Can realism of Robert Henri, and Hopper shared many of his painting locales with members of the Henri circle. Quite unlike these urban realists, Hopper remained among America’s favorite painters well after the explosion of modernism and abstract expressionism. His most famous work, Nighthawks, is an American Starry Night or a modernist Mona Lisa, approached with awe and devotion as toward holy relics. A critic in the 1970s observed, “Even during the 1950s his reputation was secure, and artists sometimes couple Jackson Pollack and Edward Hopper as twin poles of American individualism and artistic integrity” [Carl Baldwin, “Realism: The American Mainstream,” Realites, April 1973, p. 117]. Hopper’s reputation is more secure t