Edward Hopper built a summer house in Truro in 1934.
Chris Ramirez for The New York Times.
Edward Hopper (Nyack, 1882-1967), pintor realista que retrató el aislamiento, la soledad y la melancolía del siglo XX norteamericano. Permaneció al margen de las experimentaciones cubistas de franceses y españoles, pero fue influido por Velázquez, Goya, Daumier y Manet, cuya obra había conocido a través de sus profesores. La mayoría de sus obras tienen como escenario el estado de Nueva York o Nueva Inglaterra: calles desiertas, teatros medio vacíos, estaciones de gasolina, vías de ferrocarril. Aunque su obra se mantuvo al margen de las principales corrientes abstractas del siglo XX, su estilo simple y esquemático fue uno de los que influyó en la vuelta al arte figurativo posterior y en el Pop Art.
Cape Cod, in Edward Hopper’s Light
At that moment, the sandy rise is no longer simply Corn Hill, the site of the Mayflower Pilgrims’ first encounter with the fruits of indigenous agriculture, but it is “Corn Hill,” Edward Hopper’s iconic 1930 oil painting.
Hopper spent nearly 40 of his 84 summers in Truro, the rolling, lightly populated stretch of the Cape between Provincetown and Wellfleet. Together, these three communities comprise the Outer Cape: lands that, while connected to the mainland, have long served as a haven for those seeking something different. The Pilgrims, who landed there in 1620, gave way to 19th-century whalers, and then to the artists, writers and freethinkers who began spending summers there nearly a century ago.
Edward Hopper first visited the Cape in 1930. In 1934, he and his wife, Josephine, built a modest summer house — a classic Cape, but for a huge north-facing window. On a sand bluff, the house overlooks nothing but bearberry, broom crowberry, dune grass and an empty stretch of Fisher Beach. Over the decades, as his work developed, Hopper returned each year to this simplicity: old wooden houses in an open landscape of beach, heath and woodlot. (...) (Chris Ramirez for The New York Times)
|Edward Hopper (1882-1967) was a solitary man at home by the sea, amid the sand,
dune grass and low-lying shrubs. He and his fellow artist wife Josephine Nivison
(1883-1968) lived frugally in a New York City walk-up apartment...|
(...) another fugitive from the city who built a house on the dunes to the north of the Outermost House, was the painter Edward Hopper. He and his fellow-artist wife Josephine Nivison built their summer studio house in South Truro in 1934. ‘It’s just a summer cottage, as primitive as the land it’s in’, Josephine wrote.
|Edward and Jo Hopper at Cape Elizabeth 1927 |
Collection of Rev. Arthayer Sanborn. Photograph by Soichi Sunami.
Like the bare, open land that once was here, Hopper’s Cape works are unadorned. Luminous liquid light bathes simple shapes…Hopper painted structures: rough-hewn barns and hen coops, pitched-roof saltboxes,churches, Truro’s lighthouse, a tiny train station, and fishermen’s shacks on dunes. In ‘Cape Cod Evening’ (1939) a couple seems unaware of each other; only their collie is alert, as Hopper noted, ‘listening to a whippoorwill or some evening sound’. And there are Hopper’s nautical paintings — young shirtless lads in the streamlined beauty of sloops, white sails, brilliant blue sea.Seen from the beach below, ‘House on Dune Edge’ (1930) looms against a small sky; bright sunlight hits the curved facade, but one is drawn to the mysterious, deep shadows on the porch… Hopper’s paintings of Cape roads, such as ‘Road and Trees’ (1962), ‘Route 6, Eastham’ (1941) and ‘Gas’ (1940), inspired film motifs and particularly director Wim Wenders, who said, “The paintings of Edward Hopper are always the beginnings of a story.”Hopper liked to work alone. He painted at the same time of day to capture similar light. ..On the Cape he found movement and drama in the interplay of solitude, architecture and light. Andsomething more: His paintings are infused with a traveller’s yearning to discover what’s around the bend – what’s going to happen next? The storytelling. “If you could say it in words,” he said, “there would be no reason to paint.”-Patricia Dempsey, Washington Post, March 29, 2009
|EDWARD Y JO PINTANDO EN SU ESTUDIO EN 1964|
|Corn Hill (1930), de Edward Hopper, McNay Art Museum, San Antonio, Texas|
|UNA MUJER AL SOL 1961|
|MAÑANA EN CAPE COP 1954|
|HABITACION DE HOTEL 1931|