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No one captured the isolation of the individual within the modern city like Edward Hopper. His imagery of figures within urban settings go well beyond their role as modern cityscapes, exposing the underbelly of the human experience. So while his oeuvre officially falls within the rubric of Realism, it offers a far more evocative look at life between the World Wars. Indeed, by providing a minimum of action, stripping away almost any sign of life or mobility, and adding dramatic means of representation with striking lighting schemes in claustrophobic spaces, Hopper suggests something of the psychological inner life of his subjects, leading the way towards Abstract Expressionism. He injected significance, and the weight of the individual's existential being in the modern metropolis or in country life, into what otherwise might appear to be straight-forward images of everyday life.
Edward Hopper found stillness in motion and geometry in light. His simultaneously strong and subtle images of houses, streets and intimate rooms invite us to quiet our minds and open our eyes to the beauty of the commonplace as revealed by shadow, sun and the warmth or artificial lights.
Hopper takes us down city streets, past rows of shops waiting to open, into cafes and diners, past intimate scenes on porches and stoops and lets us peer voyeuristically into windows. He doesn’t just leave us in front of his images, he guides our eye, saying look, look how the shadows show you this form, look how the sunlight makes this space reveal itself, look at the inside and the outside of this architectural form at the same time. Look.
Hopper, in addition to his fascination with shadow and light, had a fascination with architecture, not in the sense of advanced designs, history or monuments, but in the streets and houses and buildings we encounter every day. His fascination is in the corner of a storefront, the edge of an office building, the porch of a house or the corner of a room.
Hopper takes particular delight in showing us windows, all manner of windows, from the inside looking out, whether from quiet cafes or intimate bedrooms, or from the outside looking in, particularly in night scenes where the inside reveals itself more brightly in the surrounding darkness, or even in his famous Nighthawks diner scene where outside and inside are separated more by the presence of light than by the physical barrier of glass.
Hopper’s technique is deceptively simple, There is no great flourish of painterly display, or dazzling realist detail, he paints directly, almost brusquely, with little regard for anything but conveying the scene and, in particular, the geometry of the scene, all of the planes and angles and intersecting forms.
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