Major Project TERM III - Edward Hopper Research
Below you can read first part of my research for my major cinematography project. This part is dedicated to painter Edward Hopper.
I. Introduction
Edward Hopper, born and raised in Nyack, New York, was an American artist who specialized in oil painting. During his life he created countless paintings most often depicting scenes from the life of American citizens (Murphy, 2007).
A second child to Elizabeth Griffiths Smith and Garret Henry Hopper, which were originally Dutch, created for Hopper a friendly and encouraging environment for him to practice his art. Edward Hopper was interested in art from his early years with his education starting at the age of seventeen in New York's school of Illustrating (Murphy, 2007). Hopper over the course of his career created almost exclusively in the style of Social Realism.
While he created in style of realism, often the realistic urban scenes he created were entirely made up from his imagination. Edward Hopper's isolated yet seemingly familiar scenes mixed with his fascination of lighting and depicting human poses were a great influence for the future generations of artists. His art while penetrating and invading scenes from other people's life remains personal and intimate.
'Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world.' (Hopper, 1942)
II. Artistic Life of Edward Hopper
Edward Hopper was born on July 22, 1882 in Nyack, New York. Interested in art from his early years, starting with illustrations of boats at the Hudson river, which later were found to be replicas of paintings made by other artists found in magazines for amature artists (Gopnik, 2020). As a seventeen-year-old Hopper went to his first art school. While his first year he spent in School of Illustration in New York, he later went on to study for further six years in School of Art in New York (Murphy, 2007).
During this time Hopper met many artists which were an influence for him. William Merritt Chase, an impressionist painter, abstract artist Georgia O'Keeffe, and the painter which had the biggest on him influence, Robert Henri, who was a part of the artistic movement called Aschan, which basic principles covered rejecting both American impressionism, and academic realism (Appel, n.d.). Both of them started painting in the movement of American realism.
Having finished school, Hopper started traveling to Europe, where he met artists which later proved to be major inspiration for his art. Edgar Degas, French painter mostly known for his paintings of ballet dancers, and Édouard Manet also French painter and the precursor of impressionism (Appel, n.d.).
After leaving school Edward Hopper struggled with getting recognition for his paintings. While his work was presented on a few exhibitions, it did not bring him the recognition he has today. Hopper besides oil painting also created in etching. This made more noise around him and the money from those types of artworks let him move to Greenwich Village, where he lived for the rest of his life (Murphy, 2007 and Appel, n.d.).
However, all that would not be possible without lesser known Australian artist Martin Lewis. While he could be even called forgotten, his teaching created a whole generation of artists, including Edward Hopper. Lewis taught Hopper how to create etchings which, as he said himself, helped him greatly in perfecting his painting techniques (Messynessy, 2019). 'After I took up my etching, my painting seemed to crystallise' (Hopper, 1945).
III. Isolated Worlds of Edward Hopper
The undeniable magnetism of Edward Hopper's paintings is present in each and every one of his artworks. 'In almost every article that has appeared on this artist, such words as “alienation,” “silence,” and “timelessness”' (Gillies, 2014) have also been present. Such pictures of isolation are appealing to us especially now in these trying times. Sitting alone in our homes, looking through the windows on empty streets and observing other alienated people (Jones, 2020). It is truly incredible how Hopper's art becomes even more relevant as the years goes by.
Scenery created by this American painter besides appealing to fellow painters it also resonates in many places with photographers. Figuring out the exposition, setting he would use, the focal length is a challenge by itself, but what truly corresponds to photographers is the way he lights his scenes. Angled lighting painted in the morning or the evening (Kummerfeldt, 2020). It's always welcoming and warm which contradicts to the way his scenery feels.
Connected to photography are also his composition techniques. In many of Hopper's artworks can be seen the frame in frame composition, which is mostly used in photography. Hopper in a way is giving us a glimpse to the life of those people through a window, as if they were frames of a film.
'This seems a particularly cinematic painting, with its glimpse of nocturnal activity mirroring the voyeurism of watching in the movie house. The frames of the window suggest a film strip, while the theatrical curtains reveal the show.' (Sherwin, 2018)
IV. A Closer Look into 'Nighthawks'
Undoubtedly the most recognizable painting of Edward Hopper, is probably also the most Edward Hopper painting there is. It merges all of the familiar styles which Hopper developed over the years of creating art into one mesmerizing image. Ranging from very photographic frame composition to his very recognizable warm lighting coming from one source (Puschak, 2015 and Kummerfeldt, 2020).
While the cafe presented in this painting was more or less based on the streets of Greenwich Village, the actual place existed only in the imagination of Edward Hopper. It is still unknown where exactly the inspiration for this piece come from, however according to Gail Levin, Hopper took inspiration from The Killers, a short story written by Ernest Hemingway and from Vincent Van Gogh's Night Cafe (Appel, n.d.).
This piece was created during the time of Pearl Harbor Attack, after which people were anxious and full of fear. They did not go outside, and lights in their homes were off. It remained on in both 'Nighthawks', or actual studio of Edward Hopper. The former presents a night scene in which we can see a cafe full of light, as if they did not care about the attacks that happened days ago, the same thing is happening to the latter, Hopper at that time did not stop creating since he was not scared or concerned (Puschak, 2015).
While that might have been a message Hopper wanted to pass on through his painting, sending to the world a message that we should not be scared at those trying times, would be something nobel to do, however I do not think that it was Hopper's intentions. He stated many times that in fact 'all I ever wanted to do was to paint sunlight on the side of a house' (Hopper, 1963). He truly believes that art is a form of expressing emotions.
'I believe that the great painters, with their intellect as master, have attempted to force this unwilling medium paint and canvas into record of their emotions. I find any digression from this large aim leads me to boredom' (Hopper, 1933)
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Sources:
Appel, R. (n.d.). 10 Things You May Not Know About Edward Hopper. [online] Google Arts & Culture. Available at: https://artsandculture.google.com/story/10-things-you-may-not-know-about-edward-hopper/SAKSr_TwNo1tLQ.
Gillies, J. (1972). The Timeless Space of Edward Hopper. Art Journal, 31(4), pp.404–412.
Gopnik, B. (2020). Early Works by Edward Hopper Found to Be Copies of Other Artists. The New York Times. [online] 28 Sep. Available at: https://www.nytimes.com/2020/09/28/arts/design/edward-hopper-copies-paintings.html [Accessed 25 Apr. 2021].
Jones, J. (2020). “We are all Edward Hopper paintings now”: is he the artist of the coronavirus age?. The Guardian. [online] 27 Mar. Available at: https://www.theguardian.com/artanddesign/2020/mar/27/we-are-all-edward-hopper-paintings-now-artist-coronavirus-age.
Kummerfeldt, J. (2020). Edward Hopper. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=pzp62IMj650 [Accessed 25 Apr. 2021].
Levin, G. (1996). Edward Hopper’s “Nighthawks”, Surrealism, and the War. Art Institute of Chicago Museum Studies, 22(2), p.180.
Murphy, J. (2007). Edward Hopper (1882–1967). [online] Metmuseum.org. Available at: https://www.metmuseum.org/toah/hd/hopp/hd_hopp.htm.
Puschak, E. (2015). Hopper’s Nighthawks: Look Through The Window. YouTube. Available at: https://www.youtube.com/watch?v=7j5pUtRcNX4.
Sherwin, S. (2018). Edward Hopper’s Night Windows: evoking voyeurism and intrigue. [online] the Guardian. Available at: https://www.theguardian.com/artanddesign/2018/feb/02/edward-hoppers-night-windows-evoking-voyeurism-and-intrigue.
Gillies, J. (1972). The Timeless Space of Edward Hopper. Art Journal, 31(4), pp.404–412.
Gopnik, B. (2020). Early Works by Edward Hopper Found to Be Copies of Other Artists. The New York Times. [online] 28 Sep. Available at: https://www.nytimes.com/2020/09/28/arts/design/edward-hopper-copies-paintings.html [Accessed 25 Apr. 2021].
Jones, J. (2020). “We are all Edward Hopper paintings now”: is he the artist of the coronavirus age?. The Guardian. [online] 27 Mar. Available at: https://www.theguardian.com/artanddesign/2020/mar/27/we-are-all-edward-hopper-paintings-now-artist-coronavirus-age.
Kummerfeldt, J. (2020). Edward Hopper. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=pzp62IMj650 [Accessed 25 Apr. 2021].
Levin, G. (1996). Edward Hopper’s “Nighthawks”, Surrealism, and the War. Art Institute of Chicago Museum Studies, 22(2), p.180.
Murphy, J. (2007). Edward Hopper (1882–1967). [online] Metmuseum.org. Available at: https://www.metmuseum.org/toah/hd/hopp/hd_hopp.htm.
Puschak, E. (2015). Hopper’s Nighthawks: Look Through The Window. YouTube. Available at: https://www.youtube.com/watch?v=7j5pUtRcNX4.
Sherwin, S. (2018). Edward Hopper’s Night Windows: evoking voyeurism and intrigue. [online] the Guardian. Available at: https://www.theguardian.com/artanddesign/2018/feb/02/edward-hoppers-night-windows-evoking-voyeurism-and-intrigue.
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