Save time by listening to our audio articles as you multitask, had been trying for years to ram a wide road through the square, yet Hopper hoped to enlist him in a campaign to block New York University from pursuing its own development goals by buying his building and others.
This exchange of letters, alongside others Hopper wrote resisting development of Washington Square, comes as a shock to the visitor wandering through “Edward Hopper’s New York” at the Whitney Museum of American Art, in Manhattan’s Meatpacking District. To encounter the author’s plain-spoken voice in strenuous argument is to appreciate anew its subtlety, if not its absence, in the paintings themselves.
Hopper gives us instead, in “The City” , a view of his beloved Washington Square that includes his block of town houses but also imagined buildings of various styles. Is he bemoaning any change, or is he celebrating the ad hoc, vibrant version of it soMorning” , he presents a deserted streetscape of two-story buildings, low yellow light drawing long shadows from a fireplug and a candy-striped barber pole.
Hopper was a taciturn man. He was known to sit silently in Washington Square Park as he thought through a painting. “Sometimes talking with Eddie is just like dropping a stone in a well,” Josephine said, “except it doesn’t thump when it hits bottom.” Hopper resisted explaining his work, insisting “the whole answer is there on the canvas”.
Great
Man is doomed by pushing a rock up a mountain because it will roll back at the top. But it is in this struggle up that he finds himself fuller 🤜🏽
It is the imposter state.
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