Thursday, October 13, 2022 – A WONDERFUL COLLECTION OF HOPPER’S NEW YORK WORKS

By admin

FROM THE ARCHIVES

THURSDAY,  OCTOBER 16,  2022



THE  806th  EDITION

EDWARD HOPPER’S

NEW YORK WORKS

AT THE

WHITNEY MUSEUM OF

AMERICAN ART

COMMENTARY OF THE WHITNEY MUSEUM

The City in Print

1

Although Hopper aspired to recognition as a painter, his first successes came in print, through his illustrations and etchings. Having trained in commercial art in his student years, he found work as an illustrator after leaving school in 1906. By this time, New York had established itself as the advertising and publishing center of the United States, and in the 1910s and 1920s Hopper received a steady flow of assignments, which helped him earn a living and supported his fine art practice. His illustrations often featured urban motifs inspired by New York—theaters, restaurants, offices, and city dwellers—that would become foundational to his art.

Intrigued by the creative possibilities of printmaking, Hopper spent much of his free time between 1915 and the early 1920s refining his etching techniques. He acquired a press for his studio in 1916 and began to exhibit and sell his prints, many of which also took inspiration from city subjects. For Hopper, the print medium offered a critical opportunity to sharpen his compositional skills and to experiment with light and shadow in black and white.

The Window

2

Hopper spent hours strolling New York’s sidewalks, riding its elevated trains, patronizing its eating establishments, and attending the theater, always on the lookout for new subjects. He was particularly drawn to the fluid boundaries between public and private space in a city where all aspects of everyday life—from goods in a storefront display to unguarded moments in a café—are equally exposed. The window became one of Hopper’s most enduring symbols, and he exploited its potential to depict the exterior and interior of a building simultaneously, a viewing experience he described as a “common visual sensation.”

Hopper’s interiors suggest the vulnerability of private life in the densely populated metropolis. In Night Windows (1928) and Room in New York (1932), for example, he captures the experience of the city after nightfall as illuminated spaces became a sort of urban theater for passersby. For Hopper, New York’s windowed facades served as dynamic structuring devices that he employed in compositions throughout his career.

The Horizontal City 

3

Five paintings made between 1928 and 1935—Manhattan Bridge Loop; Blackwell’s Island; Macomb’s Dam Bridge; Apartment Houses, East River; and Early Sunday Morning—share nearly identical dimensions and the same panoramic format. Collectively, these paintings provide invaluable insight into Hopper’s contrarian vision of a horizontal city; as Alfred H. Barr observed of Hopper’s work in 1933: “His indifference to skyscrapers is remarkable in a painter of New York architecture.” 

Describing his aims in Manhattan Bridge Loop, Hopper explained that the painting’s horizontal composition was an attempt to give “a sensation of great lateral extent” and bring attention to the cityscape beyond the frame; “I just never cared for the vertical,” he later quipped. His depictions of the wide spans of the city’s bridges, its industrial landscapes, and its low-slung buildings elevate the quotidian and prosaic over the iconic, offering a powerful counterpoint to the awe-inspiring views of the New York skyline celebrated in the news and in works by many of his contemporaries.

Washington Square

4

Hopper moved to a modest top-floor residence at 3 Washington Square North in Greenwich Village in 1913, and was joined there by the artist Josephine (Jo) Verstille Nivison Hopper upon their marriage in 1924. When the Hoppers moved across the hall in 1932 to a larger apartment overlooking Washington Square Park, they devoted more space to artmaking than to their domestic accommodations. Even as she pursued her own work, Jo played a crucial supportive role in Edward’s practice as his long-standing model and chief record- keeper. The intersections between work and home life were fluid and the dynamics between the two artists challenging at times, but Edward and Jo remained in that apartment until their deaths in 1967 and 1968, respectively.

In his first years on Washington Square, Edward took great interest in the cityscape visible from his windows and his rooftop. Jo, for her part, often selected interior subjects, from the pot- bellied stove to the stairwell that led the seventy-four steps up to the apartment. Through their front windows, the Hoppers witnessed the incessant cycles of demolition and construction as nineteenth- century buildings like their own were torn down to make way for new structures. During their many decades in Greenwich Village they advocated for the preservation of the neighborhood as a haven for artists and as one of the city’s cultural landmarks.

Theater

5

Hopper was passionate about the theater, and his work underscores the critical role it played as an active mode of spectatorship and a wellspring of visual inspiration. He and Jo frequented local establishments like the Sheridan Theatre, a nearby movie house, as well as the theaters clustered in Times Square’s growing entertainment district, as documented by the numerous ticket stubs they methodically annotated and kept. Hopper set several compositions within theater interiors, focusing not on the action on stage or screen but instead on transitional moments and private interludes—an usher lost in thought, a lone theatergoer at the back of a cinema. Hopper’s experiences in these venues, in which real and fictive worlds are divided only by a proscenium, surely contributed to many of his stagelike compositions.

Back in the studio, Hopper’s painting process often called for its own form of theater. With a background in acting as a member of the Washington Square Players, Jo collaborated with Edward, helping him source props and posing as various figure types. For each painting, Edward gradually transformed Jo’s likeness into a distinct character through a succession of preparatory studies, once remarking that the final work “doesn’t look anything like her usually.”

Reality and Fantasy

6

In his personal journal “Notes on Painting” from around 1950, Hopper described his desire to create a “realistic art from which fantasy can grow.” At a time when many artists in New York had grown skeptical of figurative painting and aligned themselves with new modes of abstraction, Hopper’s depictions of cafeterias, theaters, offices, and apartment bedrooms occupied a potent middle ground, with their radically simplified geometry and uncanny, dreamlike settings.

In these ambitious late works, Hopper often incorporated solitary figures or small groups of individuals set in generic urban spaces that nonetheless capture particularities of the city’s built environment— a brownstone abutting a public park, a cafeteria overlooking another building’s facade, a neighbor’s window seen through one’s own. Through these scenes, New York served as a stage set or backdrop for Hopper’s explorations of what he described as the “vast and varied realm” of one’s inner life.

Sketching New York 7 Throughout his career, Hopper explored the city with sketchbook in hand, recording his observations through drawing. A substantial volume of sketches and preparatory studies charts Hopper’s favored locations across New York, many of which the artist returned to again and again in order to capture different impressions that he could later explore on canvas.Hopper described his on-site sketching process as working “from the fact,” an effort to collect details directly from the world around him. These sketches greatly informed his paintings, and in certain compositions based on specific sites, Hopper’s final works hew closely to his fastidious studies. More commonly, Hopper painted an imagined New York, one in which he synthesized elements from disparate locations—a revolving door, shadows on a facade—and altered them to suit his interests.

1937 Cord Automobile Talbot Teardrop SS 150 (1938)

Thursday Photo of the Day

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ROOSEVELTISLANDHISTORY@GMAIL.COM

WEDNESDAY PHOTO OF THE DAY

The newly restored Triboro Hospital, now the T Building Apartments in Jamaica, Queens. 

THE NEWLY RESTORED ENTRANCE TO THIS LATE 1930’S BUILDING. RESTORED WITH HISTORIC TAX CREDITS, MANY ASPECTS OF THE ORIGINAL STRUCTURE ARE MAINTAINED, RESTORED AND ARE FLOURISHING.  A SALUTE TO AN 8 YEAR PROJECT OF PRESERVATION.

ED LITCHER GOT IT RIGHT.

Text by Judith Berdy
Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS
Thanks to Deborah Dorff for maintaining our website
Edited by Melanie Colter and Deborah Dorff

All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated

Sources

WHITNEY MUSEUM OF AMERICAN ART( C)

FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD

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