Zachary AronsART-261-01Dr. S. ArchinoApril 25, 2016

Edward Hopper: The Disruption of the NarrativeAbstract

Edward Hopper’s paintings conjure up feelings of ambiguity by subjectively disrupting the narrative depicted. To explain this, I will differentiate between isolation and solitude—the former being physically alone, and the latter being emotionally and psychologically alone—and how these characteristics induce ambiguity. Furthermore, I will discuss how other artists have elaborated on the motifs of Hopper’s paintings. Many scholars have researched how Hopper imposes such uncertainty, and I plan to elaborate on this by discussing possible theories of the relationships between the subjects within his paintings and the viewer with his paintings. To do so, I will analyze paintings both and with and without human subjects, including Early Sunday Morning, Nighthawks, and Automat, each of which contains many of the common characteristics of an Edward Hopper painting. Another piece I will analyze L’Hotel by Sophie Calle, which also encapsulates a disruption of the narrative through the suggestion and implication of life. Though no previous literature exists that compares Calle to Hopper, I have determined that this piece best embodies the essence of Edward Hopper by capturing relationships and human interaction in unconventional situations. With these comparisons, I hope to elaborate further on Edward Hopper’s attempt force the viewer to interact with the subjects and thereby unfold the story the each painting holds.

Edward Hopper was an American Realist artist known for his depiction of quiet

American cityscapes and scenery. Born in 1882 in Nyack, New York to a middle-class

family, Hopper began sketching and painting as early as the age of five. As he progressed

through his adolescent years most of his early work included nautical themes. In fact, he

was so fascinated by the water that he initially dreamed of being a naval architect. Once

he finished high school, though, he decided to pursue a career in art. One of Hopper’s

first, and perhaps most important, artistic influences was actually not a painter, but rather

the Transcendentalist writer, Ralph Waldo Emerson. Emerson preached the importance of

independence, individualism, and the philosophical connections between life and spirit,

themes inherent in many of Hopper’s paintings.1

1 Ralph Waldo Emerson, Nature, (Ralph Waldo Emerson Texts. March 09, 2009.)

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Hopper himself was a very quiet, introspective man who chose his words

carefully. Much of what we know about him today is from his art. Viewing his paintings

is similar to reading a piece by Emerson—emotions of isolation and solitude are

inexorable, yet strangely pleasing. Just as Emerson sat in solitude as he explored his

thoughts about nonconformity and the importance of self-reliance, so Hopper similarly

depicted scenes of introspection and reflection.2 Perhaps the lone figures in his paintings

are not always intended to be melancholy, but rather they sit alone “reflecting Hopper’s

personal preference for quiet and solitude.”3

Edward Hopper has been posthumously referred to as “the major twentieth-

century American ‘realist’ and one of the giants of American painting.4 Interestingly, at

the outset of his career, his style seemed to lack American aesthetic . While studying

at the New York School of Art and Design, Hopper built a close relationship with his

professor and fellow Realist artist Robert Henri. By the time Hopper enrolled in the

school, Henri had already become the leading teacher there. As noted by art historian

Lloyd Goodrich, “Henri’s great personal magnetism, his gift for making his pupils see

things they had never seen before—not only in painting but in all the arts—and his

constant emphasis on looking at the life around them, left a lasting impress on his

students.”5 However, despite being an American nationalist painter, Henri, educated in

France, encouraged his students to travel in order to broaden their appreciation for global

art. In October of 1906, at the young and influential age of twenty-four, Edward Hopper

did just that; he set out on what would be his first of three long-term visits to Paris.

2 Ralph Waldo Emerson and Gene Dekovic. Self Reliance. (New York: Funk & Wagnalls, 1975.) 3 Gail Levin, Edward Hopper: The Art and the Artist (New York: W.W. Norton, 1980), 42.4 Brian O’Doherty, “The Hopper Bequest at the Whitney,” Art in America, 59 5 Lloyd Goodrich, Edward Hopper. (New York: H.N. Abrams, 1976.), 11

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Edward Hopper’s early works produced abroad are very consistent with European

styles, and continued to influence his art even while back in the United States. His

European impressionistic style emphasized luminosity and architecture with light brush

strokes. New York Corner, 1913, encapsulates the post-impressionist nuances quite welli.

The light brush strokes create indistinguishable faces and incomprehensible words on the

building. The only thing that is for certain is the encroachment of billowing factories in

the background. According to Hopper, it took ten years to “get over” Henri, shy away

from the European focus on form and design, and transition to the American

“fundamentals of technique.”6 By the 1930s, as the Great Depression was underway in

America, art enthusiasts and critics began to call for “indigenous American art.”7 The

nationalistic sentiment rejected European influences and Hopper, noting this transition,

prevailed as he began to paint the “American Scene.”8

A Hopper painting encapsulates so much more than just an appeal to the

American nationalist. The narrative in each individual painting provides the viewer

immense insight into the mind of Hopper himself. Solitude and isolation combined with

ambiguity and uncertainty define Edward Hopper’s art. These themes, modernized and

revolutionized by Hopper, did not end with his demise. Many contemporary artists,

specifically Sophie Calle, seemed to look to Hopper as inspiration for introspection in

many of their pieces.

When analyzing Edward Hopper’s paintings, it is first important to distinguish

between solitude and isolation. For the purpose of my research, I will define solitude as

the state of being emotionally and psychologically alone, while isolation is the state of

6 Lloyd Goodrich, Edward Hopper. (New York: H.N. Abrams, 1976.), 12-137 Gail Levin, Edward Hopper: The Art and the Artist, 78 Guy Pène Du Bois, “The American Paintings of Edward Hopper,” Creative Art, 187

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being physically alone. It is important to note that the two are not mutually exclusive—

one may be in solitude but not isolated while another may be isolated but not in solitude.

Furthermore, the full narrative does not end at the boarders of the canvas. Much, if not

most, of the narrative actually lies beyond the canvas and within the viewer. Hopper

gives the viewer a sample of a thought and allows she or he to create her or his own

narrative, but disrupts it through embedded ambiguity.

In his 1940 piece titled Nighthawks, Hopper demonstrates solitude though his

placement of the figures and evident relationships, or lack thereof ii. The scene is a diner

named Phillies on the corner of a city block. Shops and apartments lurk in the

background but appear to be desolate. Shadows are cast on the rear building, but there is

no indication of time, besides the title. It might be early morning or late evening, or

perhaps just a street light illuminates the block in the middle of the night. A couple sits at

the countertop, watching the server as he works. A third person sits alone with his back

towards the viewer. His identity is unknown, the reason for his presence is undetermined,

and his motives are ambiguous. He is not alone in the canvas physically, but clearly sits

detached from the other figures, implying psychological and emotional solitude. While

one might suppose him to be a harmless customer, another might label him as menacing

and threating to the peace around him. Consistent with Hopper’s themes, this ambiguity

causes a disruption in the narrative that the viewer attempts to form.

Automat, 1927, successfully demonstrates Hopper’s use of isolationiii. Here, a

woman sits alone in a restaurant at table for two, nursing a cup of coffee, but seemingly

unable or not wanting to drink it. Her facial expression looks distraught; perhaps she is

waiting for a companion who will never show up, or was just left by a companion she

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will never see again. Nothing lies outside the window on this dark night, representing

both the internal and external emptiness. Almost all who view this painting can relate to

the feeling of isolation, both literal and physical, but the scene is much more eerie than

just one of heartbreak. The menacing darkness outside leaves the viewer questioning

what just happened, what is about to happen, and what is currently happening. Another

life exists outside the canvas, but the viewer is left to assume, to imagine.

Early Sunday Morning, 1930, is an iconic Edward Hopper masterpiece that

exemplifies nearly all characteristics of his paintingsiv. This piece portrays an empty

storefront on Seventh Avenue on the West Side of Manhattan. In addition to the title, the

low sun casting long, horizontal shadows suggest the timing of this painting to be at the

break of dawn. The scene appears to be abandoned with quiet storefronts, illegible

window writing, and drawn shades on the façade. A barber’s pole is the only explicit

indication of what might be present. In the top right corner, an ominous black building

lurks.

In 1930, when this painting was completed, the Great Depression was one year

underway. Hundreds of thousands of Americans were laid off from their jobs, large

industry was failing, and widespread poverty plagued our nation. Hopper reflects on these

tragic times in this piece. During a period when many were losing all hope, Early Sunday

Morning captures old-fashion, small-time American shops that still managed to stay

open. Perhaps he is even suggesting that America should revert back to the local “mom

and pop shop” model, and stay clear of large industry that clearly could cause nothing but

harm to the nation.

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Like many of Hopper’s paintings, Early Sunday Morning conjures up feelings of

peace and serenity for some, but angst and isolation for others. The scene is undisturbed,

yet “pregnant with possibility.”9 The superficial description of this painting is simple to

grasp for the naiveté. It is merely a painting of a city street. Knowing it is early morning,

one might not be surprised that nobody is present, and it is easy to imagine the hustle and

bustle of the crowded streets of New York City that will commence in just a few hours.

However, the trained eye will recognize that the painting is not empty at all. The different

draperies on the upper level, all at various heights, suggest life lies within. Those who

inhabit the apartments are not yet awake, but will soon draw their blinds to expose the

rising sun. The storefront awnings imply the stores are still operating, and the two signs

in the barbershop window appear to welcome business. The barber pole is a lone

“personality” standing by, waiting.

Moreover, the painting does not stop at its frame. The storefronts continue on

probably the length of the block, where more people might be walking. It convinces us

that “this slice of life is a part of a larger whole—the vastness of a great city.”10 When

taking a closer look at the sidewalk and shadows, a different narrative emerges. The

lowest dark line gives the appearance of a raised sidewalk. Next, the fire hydrant casts a

shadow perfectly perpendicular. The next shadow, however, is quite ambiguous. One

might suppose it to be another step, however after further consideration, perhaps it is a

person about to step into the frame of the canvas, thus implying more unseen life. Lastly,

in the back appears to be a much larger building encroaching the canvas, soon to

dominate this residential neighborhood. Perhaps Hopper is portraying a sense of nostalgia

9 Gail Levin, Edward Hopper: The Art and the Artist, 4510 Lloyd Goodrich, Edward Hopper, 68-69

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for life as he once knew it. As industry expands, neighborhoods like the one depicted in

Early Sunday Morning will become scarce. Since Hopper himself preferred quiet scenes,

he surely would denounce the destruction of a scene like this. Whether or not he is

implying a prediction, this neighborhood was, in fact, demolished after Hopper’s death.

The narrative of this painting is speculated, but never confirmed by the artist.

Though he did describe the scene as merely a “literal translation of Seventh Avenue,” he

clearly redacted the city into its bare essentials.11 After greater consideration, the scene

becomes an allegory of life. Peace and quiet is fleeting and only lasts the length of early

morning—soon, the city will awaken and the bustle—the music of the city—will begin,

just as all that is important to us in our lives will take over the internal isolation that we

might be lucky enough to experience. The ambiguity embedded in this painting disrupts

the narrative of serenity the viewer attempts to create.

The true masterfulness of this painting lies within Hopper’s evocation of solitude

and isolation even without human figures present. In Automat and Nighthawk, the viewer

can create a narrative by evaluating the facial expressions of and relationships between

the figures in the painting; but in Early Sunday Morning, Hopper strips away that ability

completely by removing all people. However, even in a painting redacted of apparent

figures, Hopper’s ingenious capabilities still evoke feelings of solitude and isolation

through mere suggestion. Many aspects of the painting imply life, but he leaves it up to

the viewer to confirm it.

Much like Edward Hopper, French photographer, writer, and conceptual artist

Sophie Calle attempts to disrupt the viewer’s narrative by suggesting that the true essence

of her work lies outside the frame of a photograph. Most of her work captures human

11 "Early Sunday Morning." (Whitney Museum of American Art).

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vulnerability, emotion, and identity. Calle stresses the concept of her work, rather than

the images themselves. L’Hotel is a series of works that perfectly captures her ideas. In

an interview with Tate.org, a British art publication, Calle explained how hotel rooms

have always fascinated her.12 While lying in bed, she always wondered who was lying

there just twenty-four hours before her. To explore this further, she received a job as a

maid in a hotel in Venice. In these hotel rooms, she would photograph the occupants’

personal belongings, rummage through suitcases, spray perfume, and eat left over foods,

all while developing her own story about who inhabited the room. This was consistent

with her self-proclaimed trademark: “image and text.”13 In some rooms, she was able to

find identification documents, journals, and diaries to help with this story, but in other

rooms she was guided only by the belongings she could find.

L’Hotel, Room 47, is a piece from this seriesv. In this collection, she compiled a

group of nine black and white photographs and the story of her assumptions. In this

room, she passports that revealed the name of the family and that they traveled to Venice

from Geneva, Switzerland. The center picture shows four pairs of slippers—two adults

and two children—identifying the number and age of the occupants. Also photographed

are hanging clothes, sleepwear, and postcards.

Calle’s voyeuristic approach is quite unsettling. Though no life is actually present

in her photographs, the personal nature of the belongings conjure up the sense that life is

close by. After reading the story attached to the pictures, they are no longer just pictures

of slippers and sleepwear, they are pictures of a human beings’ personal belongings. This

12 Elizabeth Manchester, "The Hotel, Room 47." (Tate, June 2005)13 Sophie Calle, Michael Connor, Marisa S. Olson, and Clay Shirky. The New Normal. (New York, NY: Independent Curators International, 2008.), 20

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discomfort disrupts the narrative, making a seemingly peaceful scene turn invading and

insulting for the viewer.

Edward Hopper and Sophie Calle both excel at using ambiguity as key component

of their work. Hopper implements solitude and isolation of figures combined with an

expansion beyond the canvas to encourage the viewer’s mind to create a greater story.

Calle takes a more voyeuristic approach that, though sometimes disturbing, still

encourages the mind to wonder. While there is no previous literature suggesting Hopper

directly influenced Calle, the parallels between each of their works should not continue to

go unnoticed. Hopper is by no means considered a conceptual artist, nor is Calle a

Realist, however the comparisons between their works make way to the merging multiple

artistic movements—a key component of contemporary art. Just as the ambiguity in

Hopper and Calle’s works disrupt the narrative the viewer attempts to form,

contemporary art disrupts the narrative of art history. New ideas make way to new

themes that allow us to constantly reevaluate the way we look at art. Hopper and Calle

remind us that as art historians, we must never become complacent with what we see

before us. We must look deeper, beyond the canvas of history, in order to expose the

truth.

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Appendix

i: Edward Hopper, New York Corner, 1913

ii: Edward Hopper, Nighthawk, 1940

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iii: Edward Hopper, Automat, 1927

iv: Edward Hopper, Early Sunday Morning, 1930

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v: Sophie Calle, L’Hotel, Room 47, 1981

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Bibliography

Calle, Sophie, Michael Connor, Marisa S. Olson, and Clay Shirky. The New Normal. New York, NY: Independent Curators International, 2008.

Du Bois, Guy Pène, “The American Paintings of Edward Hopper,” Creative Art, 8 (March 1931) p.187, quoted in Levin, Gail. Edward Hopper: The Art and the Artist. New York: W.W. Norton, 1980.

"Early Sunday Morning, 1930 by Edward Hopper." Edward Hopper: Paintings, Biography, and Quotes. Accessed April 1, 2016.

"Early Sunday Morning." Whitney Museum of American Art. Accessed April 01, 2016.

Emerson, Ralph Waldo, and Gene Dekovic. Self Reliance. New York: Funk & Wagnalls, 1975.

Emerson, Ralph Waldo. "Nature." Ralph Waldo Emerson Texts. March 09, 2009.

Goodrich, Lloyd. Edward Hopper. New York: H.N. Abrams, 1976.

Levin, Gail. Edward Hopper: The Art and the Artist. New York: W.W. Norton, 1980.

Manchester, Elizabeth. "The Hotel, Room 47." Tate. June 2005.

O’Doherty, Brian, “The Hopper Bequest at the Whitney,” Art in America, 59 (September-October 1971), quoted in Levin, Gail. Edward Hopper: The Art and the Artist. New York: W.W. Norton, 1997.

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