By Gerry Souter
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Extra resources for Edward Hopper : lumière et obscurité
He wanted only the whitest Umbria paper and the blackest ink for final prints. Through 1916, he toiled with the etching process while he worked – no more than three days a week – at commercial illustration. He never received the big commissions because of his inability to portray the fragile charms of pretty girls and his total lack of desire to please fussy art directors at the big magazines. His were the industrial clients, trade magazines, and low-end, “pot-boiler” pulp fiction. Early in 1917, yet another opportunity presented itself for Hopper to show his work at an exhibition by the MacDowell crowd, who had travelled to Springfield, Ohio – Walter Tittle’s hometown.
If Edward had entertained the idea that the much-painted Blackwell’s Island would be his entry into the more successful company of his former schoolmates, he missed his chance. Robert Henri decided to pick up the Independent Artists concept one more time and produced a series of unjuried shows at the MacDowell Club at 108 West 59th Street. He designed his new programme around exhibits of eight to twelve artists showing for two weeks at a time. The series of shows began in November 1911, and Hopper’s turn to exhibit was scheduled for 22 February to 5 March 1912.
There are so many questions that raise so many possibly ambiguous symbolic interpretations. One of the delightful skills that Hopper developed – to the agonising frustration of future art historians – was the ability to expose the grindings and whirrings of his own internal fantasy engine in such a way as to invite the viewer to unload his own psychological baggage on the print or painting before him. More than once Hopper fended off searching analytical questions about the “content” of his work.