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This article is an Edward Hopper painting of five treatments, the famous American realist who art critic Clement Greenberg said, “just a bad Hopper painter. But if he was a better painter, he probably would not have such great artist. ”
Chop Suey
appears in the pane Edward Hopper painting to resemble the surfaces that emphasize the interior restaurant. Geometric color fields defines the window in the background. on the right side of the window only allows a limited view. You can see a facade, an escape, a patch of the sky and a neon Chop Suey restaurant. Given that Art Nouveau-style headgear and their faces heavily made, women seem to have a doll-like, rigid impression. This also applies to the posture, the woman in the foreground, facing the viewer, but is especially visible in the background a woman who has a stiffer impression. We see the face profile, as he is a leader. The man who sits at the table seem self-absorbed, facial expressions disappear into the shadows.
The heavy made-up faces of women also suggest temptation. The billboards in the chop suey restaurant reminiscents entertainment district, a huge red table corresponds to the priority mouths of women and half-covered letters of “suey” easily associated with “sex”. The symbols of temptation, destruction and stiffness are directly related; and like almost every other paintings of Edward Hopper, this screen requires double vision.
Western Motel
In the Western Edward Hopper painting by Motel the unusually large windows of the composition extends the typical Western landscape. A woman sitting on the bed, not looking at the scenery, but also the direction of the viewer. The whole composition is similar to a portrait of his background that seems to be entrenched in a painting. But oddly enough, this motel scene connects elements of stiffness and movement. It is true that the signs of the car and the street, as the immobile posture of the woman who is the center of the painting, lost dynamism at first sight. But, as a reaction to this, the light in the room with warm colors bring as much of life as the landscape outside the window, fossilizes them.
While the internal suggests movement, the sight of the changing American landscape, with views of the landscape. It reminds me of a lost domain, the vision of America in ancient times, and memory direct encounter between nature and civilization. This far-reaching experience in the technical civilization in the New World.
Compartment C
an Edward Hopper painting, to return to the previous plans and at the same time evokes a new power and a certain surprise for the recipient. On one side, through the window of the coupe can be seen in the landscape of the river, the bridge and the dark wood on the horizon showing the boundary of civilization, the natural landscape. On the other hand, the painting gets a special dynamic into the oblique perspective.
Compartment C remains unclear because of theme enclosure that takes place in relative peace. in relations between the play of colors does not cut completely, and in addition, but it creates contexts; The depth reading, she is determined to quiet relaxation and concentration.
New York Film
The New York Movie- painting parallel instead of Edward Hopper’s paintings of the previous compartment C of the views of the bay window C focus here is on the movie screen: with the audience in the room to admire the painting looks like an Alpine landscape. This vision defines only part of the picture; it almost lost the monumentality of the interior is divided into stages, gradually layered formations and ceiling lamps, columns, curtains, hallway and stairs.
The same woman usher deeper impression on the train traveling compartment C. But it seems this woman is not interested in the prospect of either the illusion of cinema.
Nighthawks
This is the late and famous Edward Hopper painting is the only painting depicting a convex glass and makes the glass can be seen: the space bar is surrounded by the people as a hermetically sealed container. In addition, we see the separation of both the urban environment and nature. The night the city lights only light in the bar. As light enters obliquely, the product acquires a suggestive dynamic in which the light will be the center of the painting.
Although Hopper suggests that unconsciously painted “the loneliness of big city”, while stressing ease of painting, which he was only trying to depict “restaurant Greenwich Avenue,” two roads meet. The canvas is characterized by psychological stress. The destruction of the cities and in the privacy of third track visitors, collecting a pair to him and that the underlying psychological effect. Although this points to Edward Hopper painting, contrasting the bars and shops in the background, the social environment, especially a flat projection of different fantasies.
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Source by Marijn Kruijff