I recently made my first visit to the newly remodeled Yale University Gallery of Art on Chapel St. in New Haven.
I took the elevator up to the third floor American wing and immediately made a bee-line to the Hopper paintings in the museum's possession. The one I focused on first was "Sunlight in a Cafeteria." (1958)
I took the elevator up to the third floor American wing and immediately made a bee-line to the Hopper paintings in the museum's possession. The one I focused on first was "Sunlight in a Cafeteria." (1958)
Sunlight in a Cafeteria by Edward Hopper
Courtesy of edublogs.org
What struck me first is the solitary plant that sits on the window sill.
The early afternoon rays of the streaming sunshine illuminates a barren empty scene.
Indeed, one would be hard pressed to identify it as a cafeteria. Cafeterias, after all are built to serve people and where are the customers at this early hour?
Indeed, one would be hard pressed to identify it as a cafeteria. Cafeterias, after all are built to serve people and where are the customers at this early hour?
The cafe is empty of life, but for two solitary souls. Though the businessman is facing the lady, there is no indication of any eye contact, let alone any conversation.
The impression is one of loneliness and isolation.
It is thus more likely that the couple has just arrived.
The impression is one of loneliness and isolation.
Western Motel (1957)
The second Hopper that caught my eye is Western Motel.
Western Motel continues Hopper's presentation of loneliness, the aloofness of his subjects--people isolated on their own private islands of existence and experience.
Western Motel continues Hopper's presentation of loneliness, the aloofness of his subjects--people isolated on their own private islands of existence and experience.
The woman poses on the edge of the bed in front of the artists's canvas as is if she being photographed--by her husband or lover?
There are two pieces of luggage -suggesting she has a roommate.
There is a jean jacket loosely thrown across the armrest of the sofa chair at the extreme right side--probably belonging to the artist/photographer.
Indeed, there is a subtle triangulation and consequent tension in which the jacket plays a key role.The lady casts her gaze at the artist and the artist is throwing in the details suggesting his rendezvous with his subject. These details tell a story of their own which entails the artists' careful planning, often through story boarding--i.e. making lots of drawings-- in order to determine what details he wishes to include.
If we stand where Hopper is gaze toward the denim and follow the denim to the lady and her gaze back to Hopper, we have created a virtual linear triangle.
This indicates a connection that goes beyond one of artist and patron.
This is indeed not a stretch of the imagination. The artist did not have to include the piece in the painting at all. He did not have to place that sofa chair with denim facing his subject.
Let's go a little more into depth here.
The slanting rays of sun, as well as darkening blue skies, coming from the west-- suggested by the title-- suggest a late afternoon time of perhaps 5 or 6 PM. Darkness will descend in about 2 hours.
There is a jean jacket loosely thrown across the armrest of the sofa chair at the extreme right side--probably belonging to the artist/photographer.
Indeed, there is a subtle triangulation and consequent tension in which the jacket plays a key role.The lady casts her gaze at the artist and the artist is throwing in the details suggesting his rendezvous with his subject. These details tell a story of their own which entails the artists' careful planning, often through story boarding--i.e. making lots of drawings-- in order to determine what details he wishes to include.
If we stand where Hopper is gaze toward the denim and follow the denim to the lady and her gaze back to Hopper, we have created a virtual linear triangle.
This indicates a connection that goes beyond one of artist and patron.
This is indeed not a stretch of the imagination. The artist did not have to include the piece in the painting at all. He did not have to place that sofa chair with denim facing his subject.
Let's go a little more into depth here.
The slanting rays of sun, as well as darkening blue skies, coming from the west-- suggested by the title-- suggest a late afternoon time of perhaps 5 or 6 PM. Darkness will descend in about 2 hours.
It is thus more likely that the couple has just arrived.
The emptiness, barrenness and linear boredom of the interior is suggested by the similar qualities in the landscape outside the large open window.
The tawny mono-color nondescript landscape in the near distance appears as if the rear of sprawling commodious sofas. These images exude a feeling of plush sensuality, which we will explore next.
The green 1957 Buick seems to protrude from her scarlet midriff--perhaps a hint of sexuality, virility.
That Buick belongs to her guy.
Strangely, he is not present at least visually, for we know he is opposite her, as his jacket is too!
That Buick belongs to her guy.
Strangely, he is not present at least visually, for we know he is opposite her, as his jacket is too!
And indeed, scarlet, symbolic of warmth, ardor, sensuality is the color of choice for the armchair and bed as well.
Her man, as I have suggested, could be the painter himself--who captures his lady in the lens of his canvas.
And as we know the lens or canvas is an interposition, a subtle distancing of subject and object (on this subject, tomes have been written..)
Still, though highly charged with sensuality, the scene, frozen in time, is the prelude to a potential connection .
Her man, as I have suggested, could be the painter himself--who captures his lady in the lens of his canvas.
And as we know the lens or canvas is an interposition, a subtle distancing of subject and object (on this subject, tomes have been written..)
Still, though highly charged with sensuality, the scene, frozen in time, is the prelude to a potential connection .
IN BRIEF, WE HAVE A MOMENT OF DISCONNECT CAUGHT IN TIME
Hopper intrigues and fascinates me as he captures and explores through minute carefully planted details the individuality, the aloofness and aloneness of his subjects.
If the reader wishes to explore Hopper's story boarding, his creating as many as 54 preliminary drawings as in New York Movie (to see all 54, click here), then get hold of a Whitney Museum publication Hopper Drawing, organized by Carter Foster, Steven and Ann Ames Curator of Drawing.
NEXT: How a certain triptych-like mural featured at selective Starbucks is upending Hopper's view that man stands alone in the universe?
Hopper intrigues and fascinates me as he captures and explores through minute carefully planted details the individuality, the aloofness and aloneness of his subjects.
If the reader wishes to explore Hopper's story boarding, his creating as many as 54 preliminary drawings as in New York Movie (to see all 54, click here), then get hold of a Whitney Museum publication Hopper Drawing, organized by Carter Foster, Steven and Ann Ames Curator of Drawing.
New York Movie, 1939
Kudos to the Yale Gallery of Art and its Hopper paintings.
NEXT: How a certain triptych-like mural featured at selective Starbucks is upending Hopper's view that man stands alone in the universe?
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