I have been captured by Edward Hopper ability to paint emotional scenes the moment I have seen his works and I have been held captive since. "Most of Hopper's characters are so immersed in thought that they seem unaware of their surroundings. They are posed in dramatic scenes of distraction, absorbed in private thought and sober musing (...)". " His paintings do not refer to to specific places, but are "types" of places - projections of his imagination, his interior vision "; generic interiors.
Contrary to this thecharacters in my paintings are not contained in any interiors,they are placed in moment in time.
Radical lighting effects (like Rembrandt)
solitary vs loneliness
solitary in a group (in relationship)
Hopper's melancholic gaze
masterpieces of narrative understatement
It is often observed that Hopper painted many pictures of disaffected, inert couples - the motif should be seen as yet another aspect of both the ancient humour and the clinical pathology of Melancholia, which, as Freud put it, causes the "loss of the capacity of love".
In the classical understanding of Melancholia, this loss is the price paid for the solitary and inward life of the thinker.
Edward Hopper - unlike myself - was above all a painter of rooms - interior spaces within which one or two characters, naked or clothed, female or male, sit or stand (no interaction between them). In these rooms the window is most important feature. It lets the sunlight into the room but also casts dark shadows. it provides a view of outside world (the city, the countryside or close to the ocean) - no outside world for me (because if there’s no inside there’s no outside).
There is something somehow uncanny about Hopper's paintings of rooms, whether they are private or public spaces. the characters seems isolated, and yet some kind of relationship is developing, positive, negative, or yet, undecided.
then there are interiors without characters
Break through at 45 with sold out watercolour exhibition