Hopper’s a favorite artist of mine. He’s probably best known for “Nighthawks:” the almost oppressive sense of isolation, detachment, along with that of having just missed some action or that action is imminent, but we’ll never know what happens. I love that he uses architecture and angles as means of expression, too. His work fascinates me.

“It’s not hard to paint a design,” Hopper told me dolefully. “Nor to paint a representation of something you can see. But to express a thought in painting–that is hard. Why? Because thought is fluid. What you put on canvas is concrete, and this tends to direct thought. The more you put on canvas, the less of your original thought remains.”

… Looking at “Nighthawks,” I sense an invisible fifth participant who hovers on our side of the street. A passerby like us, he observes the action from the dark, and in through the plate glass, with appreciative and yet rather terrible detachment. Darkly shimmering, mercurial, and soon gone again is the artist’s self, the actual nighthawk.”

–Alexander Eliot, author, critic, and historian on Edward Hopper’s painting: “Nighthawks” | http://bit.ly/1evEkA0

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