Nighthawks: Stories of paintings by Edward Hopper by Lawrence Block My Review

The following sample essay on Nighthawks: Stories of paintings by Edward Hopper by Lawrence Block My Review about unusual literary and art adventure.

As soon as a modern painter is more popular than Edward Hopper (1882-1967). Where his works are exhibited, tumble attendance records. His realistic images knows and recognizes each. His style is unmistakable: Cool colored areas (whose courses he has indeed calculated meticulously), clearly see through scenes (a few figures, everyday interiors, unspectacular buildings and landscapes), static acting arrangements, structure by strong color and brightness contrasts.

The absence of action and movement is deceptive peace and quiet before, but under the quiet surface so one suspects prevail melancholy, loneliness, abandonment and isolation. Or they that work even uncontrollable tensions threatening dangers lurking monsters from the past, raging storm? The ambiguous atmosphere developed an irresistible attraction, the viewer lingers in amazement, is sucked in a magical way to the scene. What goes in the figures before whose gaze absently into the distance, is ineffective, stop by one another, barely perceive one another, to turn away? Anyone who immerses himself in a Hopper painting is necessarily the narrator of his story, and everyone tells in his head another.

Of course, the appeal of this unusual literary and art adventure is to match reading from time to time, such as text and picture correlated. Shows the image of the key scene of the plot, or take the action originated it? The author has the protagonists, the scene, a facial expression or just an object taken? It is the peculiar atmosphere that it has encouraged? Although Hopper fans will know most works well, some text opens up so far remained hidden aspects of a painting or puts it in a completely different context than we had taken it for granted previously.

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Unlike the viewing at the museum occurred artistic criteria (composition, color design, painting techniques and the like) in the background, while some authors to create links to Hopper’s biography and personality.

Surprised there that most stories of disappointments tell in life, in which increase of unfulfilled, unhappy relationships, dependency, resentment, disgust, hatred and unbearable? Can it be surprising that women often are the focus, whether as avenger for them or their fellow women angetanes suffering, whether as seekers of familial happiness, whether as sexual desire? If you have sensed this kind subjects and plots not often cool in Hoppers scenes, unusual color schemes and striking symbolism?

Although Hopper’s paintings seem to float above the transience, they are of course expressions of their time of origin. Some authors also root their stories because in a specific historical period. A grisly case of racial discrimination in times of economic crisis is the focus of poignant short story “Still Life in 1931” by Kris Nelscott. A White accused a young black man of raping her. Immediately he hanged on a tree. But the charge was baseless. The severity of their debt pushes the woman to the ground and lets her sister for years to apologize. In “The incident of 10 November” (Jeffery Deaver) is an art postcard with a Hopper painting as a secret code during the Cold War.

The fact that Edward Hopper, incidentally, is no simple so quiet, was balanced personality as it may suggest his pictures, is not well known. The art historian Gail Levin, author of three biographies about the painter, has also evaluated diary of his wife Josephine Verstille Nivison, who abandoned her own painting for him and often model was him. That their relationship was to the celebrated artist notoriously difficult, burdened by jealousy, aggression and sexual violence, the author Megan inspired Abbott for their story “Burlesque.”

aims to biographical level and Gail Levin’s own contribution ” the preacher collects “. You can in a friend and neighbor of the Hopper family, the Reverend Sanborn, report. The good priest went with them in and out, taking care of the sick older sister of the painter and is always helping at all on the spot, especially after friend Edward’s death. In lawless interpretation of the concept of charity, he brings a whole series of allegedly of forgotten images from the attic in his safe custody. The proceeds of its sales – including the picture “City Roofs” (1932) – he gives his needy relatives, but financed hence his early retirement. intended as Gail Levin (the author himself comes in their story before) for the Whitney Museum create an Opus she encounters inconsistencies, because Jo, the widow, had passed over the work of her husband fussy book. This brings the Reverend in distress.

Thriller-old master Stephen King contrast, projected a most macabre mini-story in the scene showing the famous painting “Room in New York” (1932). A couple sitting in a cramped little room acting, he studied concentrated in leaning forward the newspaper, she strokes away and lost in thought over the keys of her piano to hit without a sound. America is in the Great Depression, everywhere prevail unemployment, poverty, hunger. But the two have found a way how to better make ends meet than others. They offer hospitality.

“Nighthawks” (1942) is certainly Hoppers known work, marketed in countless variations, even illuminated with LEDs, and of course there is no lack in this gallery. Is not it a prime example of how Hopper keeps the viewer on the one hand at a distance, on the other hand his curiosity provoked to study the lone guests of the brightly lit bar through the large panes to deal with them? Surprisingly, Michael Connelly decided not to examine a large extent. In his story the painting gets as such a function. A young, aspiring for independence woman with literary ambitions often come to the museum to look at “Nighthawks” because it draws inspiration for her novel project. Here she finds private eye Harry Bosch, who was commissioned to track them down.

The painting “Cape Cod Morning” (1950) preceded by the anthology as frontispiece, without being the subject of a narrative. This ‘space’, arose because the intended author had to jump off, will now inspire us to seek a story is to spin a story line for it. The publisher we should not send our concepts ( “I’m out.”). Therefore, as a suitable place of publication for your ideas I propose the comment box below this article.