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Hopper's parents encouraged him to study commercial illustration instead of fine art. The boy was already serious about his artistic ambitions in the age of 10, when he started to sign and date his drawings. Hopper depicted the spirit of the time very subtly, showing it in the poses of characters, in the vast empty spaces around them, and also in his unique color palette.Įdward Hopper was born into a middle class family in Nyack, NY, a vibrant hub of transport and industry at the time. His suggestive imagery shares the mood of individual’s isolation with books of Tennessee Williams, Theodore Dreiser, Robert Frost, Jerome Salinger, as well as with canvasses of Giorgio De Chirico and Paul Delvaux. The ‘artist of empty spaces’ offers a remindful look at life of Americans during Great Depression. Hopper’s paintings would suggest the latter to be more likely.No other artist managed to capture the solitude within the modern city like Edward Hopper. Copyright © 2009 - Present All Rights Reserved The question is, however, were these four decades of happy marriage or relationship turmoil? Despite this, the two remained married and continued to create together for over four decades. Jo, the assertive women and Ed, the physically imposing man of the house. His wife, Josephine, was a common subject of his and the varying dynamics of Hopper's relationship with her clearly informed a number of his portraits. Summer Interior is only one example of this but, in my opinion, it is one of the most tragically intimate of his paintings. the relationship portrayed is between Hopper and his faceless subject alone. The goings on within the painting never involve the viewer.
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They stare out of windows, at walls, into coffee cups and at the turned backs of disinterested men. Typically, his subjects never look us in the eye. Above all, he uses the dullness of a sepia colour palet, a claustrophobic bedroom setting and a passive subject to project a reality so far removed from the romanticism of modern day ‘love’. As such, he is able to use a seemingly plain image to push his reader into the feeling that they are but a helpless observer in someone else’s world. Hopper's bread and butter comes in the form of viewer detachment. Powerless and passive, we are the intruding stranger peering through the closed window of a solitary woman's personal life. However, in doing so we gradually bring on the haunting truth that this scene is one that cannot be reflected on with anything but the eye of bleak cynicism. Maybe, we can attempt to identify the catalyst of her heartache. We can guess at the cause of this young girl's pain. Summer Interior thrusts towards us an array of vulnerable intricacies. Certainly one example of the presentation of Edward Hopper's women. An arm is stretched down between her legs, covering what we now see is her exposed bottom half. Red faced and hunched, she is looking away in shame or upset. A young woman sits on sheets pulled from her bed. His painting conjures within us an array of emotions and gradually forces us to realise the tragic nature of his subject's situation. Through Summer Interior, there is a stark realisation in Hopper's realism - it forces us to look upon a moment in time that we should not have the privilege to observe.
Most notably depicted as looking longingly out of windows, passively into their laps or as engaged in some menial activity. Edward Hopper's women appear frequently within his artwork. Summer Interior: A solitary woman at the centre of an unknown crisis.