![]() ![]() ![]() And where people do appear, they are evoked by the brushstrokes rather than depicted in detail. Many of his realist paintings lack human presence. “The American quality is in a painter,” Hopper declared he wasn’t able to paint anything else because of who he was and where he was from. It was Hopper’s belief in the interconnected nature of human relations, that every being was as Schmied describes “bound to his or her place in the world, dependent on it,” which caused him to fix on his surroundings. He turns to artist and Hopper’s cohort Charles Burchfield for support: “he achieves such a complete verity that you can read into his interpretations of houses and conceptions of New York life any human implications you wish.” In pursuing the local, Schmied argues that Hopper effected a representation of the universal. “The more we try to analyse it, the more elusive it seems to become." “The American quality is obviously there,” writes Wieland Schmied, the author of recently released Edward Hopper: Portraits of America. He was born there he painted subject matter that was distinctly from there – the Cape Cod landscape, gentlemen in slacks and fedoras, Midwestern architecture and he expressed that which was intangible about early twentieth century America with colour and form. Edward Hopper was an American artist in at least three ways. ![]()
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