Early Sunday morning

Edward Hopper • Malerei, 1930, 89.4×153 cm
Über das Kunstwerk
This artwork was added since it is referred to in the materials below
Kunstgattung: Malerei
Motiv und Objekte: Architektur
Kunststil: Realismus
Technik: Öl
Materialien: Leinwand
Erstellungsdatum: 1930
Größe: 89.4×153 cm
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Bildbeschreibung «Early Sunday morning»

Hopper whole life was the real reactionary and conservative, for which he received retribution in the form of a cool attitude critics and the public for many years. The artist was honored by the attention of the "roaring twenties", persistently drawing the wilderness, and single people ("The roof on Washington Square", Sunday both – 1926). His eyes began the automobile era, America EN masse seated behind the wheel of erecting a cult of the genre of the "road story" in all spheres of life. Hopper himself was the owner of the car, but here to write prefer the train. On those few scenes where all there cars, they are depicted without motion ("Jo in Wyoming", 1946 ). In the works of hopper, in principle, very little dynamics. And in this respect the picture "Early Sunday morning" can be called almost the anthem of the suspended time.

The Hopper, claiming that the painting is "an almost literal image of Seventh Avenue," said, however, that here are not necessarily the ones shown on Sunday. The word "Sunday" crept into the title picture by accident, but it is surprisingly accurate for determining the almost tangible silence in the dawn sun-drenched deserted street, frozen in the still air, as in amber.

"Early Sunday morning", as well as many paintings of hopper, is more of the image is not specific to the new York streets, as every corner of America of that period. It is worth remembering that the work was written during the Depression – and she is filled with completely different meaning. Become visible in a completely empty storefront on the left and the sign in the window marked with a bright striped Barber pole may indicate that it will never open. Hopper admitted that first portrayed the man in the window of the second floor, but then decided that architecture expresses his feelings better, and get rid of unnecessary witness.

Author: Eugene Sidelnikov