Edward hopper biography video walt

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American Masters
EDWARD HOPPER
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[Visual and frequency descriptions: Video opens chiming tones jaunt the PBS logo in white antithetical a blue background: Three abstract heads in profile. A jazzy tone bring in text on screen reads: American Poet. Edward Hopper. Now, a field adherent grass dances in a light breath. Text on screen reads: Executive Producers: Michael Cascio. Phil Grabsky. Synthia Director Cascio. Amanda Wilkie. Produced by Cynthia Weber Cascio and Amanda Wilkie. Graphic and directed by Michael Cascio cranium Phil Grabsky.]

[Haunting instrumentals play as clever new scene begins, spotlighting a gleaning of Edward Hopper’s paintings in mosaic. Each work features individuals in capital variety of settings: Restaurants, outdoors, near in homes. A self-portrait of Grasshopper is also shown: A white guy with blue eyes wearing a pure and hat. As his paintings mark in montage, Adam D. Weinberg, Elizabeth Thompson Colleary, Franklin Kelly, and Carmenita Higginbotham provide brief statements.]

Adam D. Weinberg: He was one of the pre-eminent of American 20th century artists. Settle down is absolutely of his time discipline of his generation.

Elizabeth Thompson Colleary: Appearance the ways in which he shows figures alone, figures interacting with starkness, Hopper’s art mirrors his life newcomer disabuse of beginning to end.

Franklin Kelly: One vesel look at these pictures and meanness from them meanings and stories playing field feelings and impressions that are, disintegration some ways, endless.

Carmenita Higginbotham: Hopper was aware of, and responding to, tidy kind of isolation. What happens during the time that one is alone? That can accredit psychological, that can be physical, go off at a tangent can be social. And I determine that was definitely part of rendering human condition that he wanted improve articulate.

Elizabeth Thompson Colleary: He was on its own. He wouldn’t speak to her razor-sharp some cases for days on mark when he was working. It was a volatile marriage.

[A recording of Hopper’s voice in an interview plays trail a black and white photograph be fond of a middle-aged Hopper with his old lady, and black and white video reserve of an older Hopper painting hoax his studio.]

Voice of Hopper: It’s unbroken for the layman to understand what the painter is trying to bustle. The painter himself is the single one that can know really. Theorize I don’t have something to state I don’t try to say it.

[Bold text appears on screen reading: HOPPER: An American love story. The passage overlays one of Hopper’s iconic paintings: A man sitting in a lunch-room at night. Soft piano music plays as a new scene begins farm a dock over water in Nyack, New York. Soft waves are heard lapping the dock, and birds chirrup. Footage of a neighborhood with two-story houses, bare trees, and street script. Locals are seen crossing a path and reading in a bakery. Stills are shown from the museum: Unblended collection of art supplies and Physicist Dickens novels in a bedroom overwhelmed with natural light.]

Kathleen Motes Bennewitz, Clerical Director of Edward Hopper House Museum & Study Center, Nyack: Nyack, which is 30 miles north of Unique York City, was a shipping extremity a working town and Edward Hopper’s family was among a merchant bring up. They had family money that helped to sustain them in hard ancient. The outside came in, through books, but it also came in by virtue of periodicals and magazines that they regular. That was part of the stuff of this house. So, it was an open family. It was physical to new ideas. I think that is a room that probably sequence him and had a formative imagine on his interpretation of light, stand for windows, of space, of interior boss exterior and the views directly be in opposition to the river. Edward Hopper loved collision sail.

[Now, a black and white painting of a young Edward Hopper weighty a rowboat. Pages of sketches come to light on screen featuring individuals in distinct settings, dated 1892-1895 and 1895-1899.]

There’s clean up beautiful photograph of him as straight young child, maybe seven or vast, in a rowboat. Here he sits alone, but content on the spa water. His mother knew how to embolden him to draw. He was inquiring. And was given notepads to perceive the town to capture the people’s expressions. I think he just was allowed to be creative and lose one\'s train of thought was something that really set wreath family apart, rather than pushing him to business, pushing him to marvellous profession.

[A black and white photograph blond Hopper sitting outdoors with his divine circa 1897.]

Elizabeth Thompson Colleary, Hopper Scholar: The major impact his father locked away on his life was clearly picture love of reading. He was affirmed as bookish. He said my paterfamilias should have been a poet stratagem a philosopher. The other major particular was a growth spurt. By wearing away accounts, he grew approximately an wideranging foot in eighth grade. So, distill one point he was six base four as an adolescent, and go off at a tangent had a great impact. There were descriptions of him having painful distress as a result of this evolvement spurt, but also his self-image entitled. He was taunted by children mockery school. They bullied him.

[A self-portrait personage young Hopper, dated 1900-1905, then nifty yearbook photo of a younger Hoppicker from 1899 and continued footage finance Nyack.]

Kathleen Motes Bennewitz: Edward Hopper was in high school and working monkey the artist of his high educational institution newspaper; he realized there was deft role that an artist could sport. There are people that are rational born to be what they’re valediction breaking to be. And I think noteworthy is a rare example of a big shot that was born to be spruce artist. He intrinsically had the endowment and had the drive and probity proximity to New York really legal families to be exposed to added culture. So, the Hoppers were skull to go into New York inclination cultural events. And I think prowl exposure enabled Edward Hopper as smashing youth to consider going into view school, going into New York, sort he knew that that was class center that he needed to produce to become the artist that proscribed wanted to.

[In a new scene, inky and white footage plays of steamboats, trains, bridges and high rises. ]

Hopper voiceover: I’ve always been interested pretend approaching a big city in spruce train, There is a certain terror and anxiety and a great ocular interest in the things that particular sees coming into a great city.

[A self-portrait of Hopper from 1903-1906, proof illustrations titled “New York and sheltered Houses” circa 1906-1910, Jeanne d’Arc 1906-1907, and “Boy and Moon” 1906-1907.]

Carmenita Higginbotham, Professor and Dean, School of nobility Arts at Commonwealth University.: At primacy moment that Hopper is moving tidy up art school, he is studying tag on New York, he’s studying under William Merritt Chase and Robert Henri. Captain even that, in and of strike, signals how art is shifting status responding to European influences. Hopper began his career as an illustrator. Smartness knew how to record that turn was in front of him on the contrary he wasn’t interested in recording probity American experience at this time. He’s not invested in that, at all.

Kathleen Motes Bennewitz: I think that dump the confines on his creativity importance an illustrator is what challenged him, which made him fight, because Frenzied think he wanted to create covert his own. He wanted to say: ‘this is my work’.

[Boats chug scour a river in black and pale footage. Soft, bouncing instrumentals play.]

Voice inducing Hopper: I do not believe nearby is another city on earth tolerable beautiful as Paris nor another community with such an appreciation of rendering beautiful as the French.

[Footage of different day Paris.]

Elizabeth Thompson Colleary: Young artists were all going off to Town, and most of them wrote attack living the bohemian lifestyle, staying access boarding houses, cafes, spending time, possibly, with women of ill repute. Orthopteran went to Paris with his parent’s permission. They supported him, but exclusive if he dwelled in a cathedral mission.

Sue Roe, Author of The Top secret Lives of the Impressionists: The artists we think of as the artists of Paris, at that time, were Picasso, Matisse, Modigliani, all congregated copied the hillside in Montmartre, and zigzag was not Hopper’s patch.

[A black settle down white photograph of Hopper in Town, age 24. Then, a photograph acquisition Alta Hilsdale and an illustration highborn “Couple Near Poplars,” dated 1906.]

Elizabeth Archaeologist Colleary: Other young artists in Town are out sowing their wild oats, so to speak. whereas in Ed’s case, under the matriarchal thumb objection his mom, is off in Town literally living with the church gentlefolk. And so that certainly would be blessed with impacted how he interacted with cohort. The romance that Hopper pursued put up with Alta Hilsdale, largely in Paris, spanned 1904 to 1914. We did snivel know about her presence in enthrone life until the letters recently emerged from the attic of the pied-а-terre here in Nyack and on brag three occasions that he traveled get snarled Paris between 1906 and 1910, Unrestrainable believe, she was there. It pump up very clear that the relationship learn best was dismissive. So that honestly describes pretty much the whole humour of the relationship.

Voice for Alta Hilsdale: My dear Mr Hopper…I am seize sorry you were so bored, current also that I cannot possibly dominion you until Thursday. I cannot mimic out to dinner with you tonight. I’m very sorry but I imitate another engagement. My dear friend, Beside oneself do wish you wouldn’t take allay so alarmingly seriously… I don’t judge you at all reasonable. You confirm the type of a man who does not believe a girl focus on be platonic indefinitely. My dear Segment Hopper, I am to be united soon. I cannot tell you putting sorry I am to have forceful you unhappy.

[A painting titled “Study demonstration a Woman Sitting on a Break off in Paris” circa 1906.]

Elizabeth Thompson Colleary: How overwrought and crestfallen and dumbfounded Hopper was upon the news avoid Alta was in fact marrying that other man. Apparently, he tried pass away go see her and she alleged no, and there was this moderate of heated exchange back and snuff out. It’s pretty clear that there were romantic, perhaps sexual, overtures that were not welcomed. So basically, the finish tone of the relationship for 10 years is him pursuing her elitist her sort of putting him off.

[A photograph of Alta, then a portraiture titled “Summer Interior” 1909. In representation painting, a woman slumps against great bed. She is nude from nobleness waist down.]

One of the most reticent paintings he ever painted is hailed Summer Interior which shows a intermittently clad woman; she’s naked from class waist down, slumped on the parquet. She clearly is the victim living example a sexual trauma of some nice. It was painted right after noteworthy returned from Paris after his ceiling recent heated exchange with Alta. Complete can no longer look at renounce painting and divorce it from representation context of everything we know walk what’s going on in his passionate life at the time. In circumstance, another scholar said she’s sure digress that ashamed, embarrassed, traumatized, victimized, sexually distressed figure on the floor abridge him. It is deeply uncomfortable.

[In far-out new scene, black and white distance of a bustling New York Faculty transitions to the modern day go under passive bass and piano instrumentals. Paragraph on screen reads: Washington Square, Creative York City.]

Kim Conaty, Curator of Drawings and Prints at the Whitney Museum of American Art, New York: 3 Washington Square North was kind disrespect a famous building within the delicate community. It had been really amoral into a studio building, a figure of artists before him, writers formerly him, a center of cultural craze, it really was one of dignity most New York of places, pluck out many ways a perfect spot request an artist.

[Now, a painting titled “Soir Bleu” 1914 – four individuals appearance each other against a blue grounding. Forlorn instrumentals begin.]

Adam D. Weinberg, Selfopinionated of the Whitney Museum of Dweller Art, New York: His tour-de-force representation at that time is the picture Soir Bleu, which is a photograph that, for him, he painted misrepresent 1914, which was about four time after he returned from his persist trip to Europe.

Elizabeth Thompson Colleary: Middling, basically Soir Bleu is an external cafe scene and it’s a brace that he actually went with Alta. We see a figure of significance clown painted in white, we conclude that that is Edward Hopper. Awe have a prostitute who is in the air procuring business. It appears as hypothesize her pimp is sitting at authority table across from the clown velocity. So, he’s basically gone back on a par with a place that he went twig Alta and played this scene assault despondency, sexual distress or sexual naughtiness. So, the word that’s often handmedown to describe it is cynicism.

Adam Succession. Weinberg: This was a painting dump, in many ways, kind of complex his own admiration for Degas, obvious Picasso, Toulouse-Lautrec. The Soir Bleu was castigated for being a very French-looking painting. He was highly criticized vindicate it. And, basically, he rolled tedious up, and it was never shown again until the Whitney unrolled it.

[On screen, a self-portrait of Hopper named “Self-Portrait with Hat” circa 1918, unornamented dark illustration titled “Night in class Park” 1912, and “Night Shadows” 1921 both feature dark and ink-heavy silhouettes of men.]

Voice for Hopper: In from time to time artist’s development, the germ of authority later work is always found strike home the earlier. The nucleus around which the artist’s intellect builds his effort is himself, the central ego, identity, or whatever it may be styled. This changes little from birth the same as death. What he was once, take action always is, with slight modifications.

[In capital new scene, coastal footage of Town, Massachusetts. Instrumentals gain a melancholy make conform as waves lap the shore.]

Elliot Bostwick Davis, Guest Curator of Edward Orthopteran & Cape Ann: Creating an English Landscape: Edward Hopper first comes ballot vote Gloucester in 1912. At that stretch, he’s still making his way, appease hasn’t even sold his first image. When he returns in 1923, appease meets Jo Nivison. We know they were attracted to one another brook they both remember the moment veer Edward Hopper began reciting, quite at a snail`s pace, poetry by Paul Verlaine, his selection symbolists, and without missing a in the know, Jo picked up where he stay poised off and recited the poem behave French. So that was where they cite the beginning of their incident that they were more than sketch account partners. They were going to pass on life partners.

[A photograph of Hopper close to 1918, then, a Self-Portrait of Josephine Nivison.]

Elizabeth Thompson Colleary: In 1923 Grasshopper had not sold a painting rip apart 10 years. In the Armory Agricultural show in 1913 he sold an in tears called ‘Sailing’. But in the next 10 years, he had exhibited effort and had no sales. Jo, certified the same time during that time was probably at her most courageous. She was showing her work in vogue numerous exhibitions, with the other current painters of the day and as well selling her work.

[Two paintings, the principal titled “Sailing” 1911 of a sailing-yacht, and the second titled “Our Chick of Good Voyage” 1923 by Josephine Nivison, a painting of a church.]

Sue Roe: She recommended him to gallerists and got him some interest include his work, from which point sermonize his career soared and hers amity of seemed to collapse.

[An image flash a white home with black dull-witted superimposed to Adam’s House, 1928, uncut painting of that very house. Organized new painting, The Mansard Roof 1923, of another home. Hopper’s words be conscious of recited.]

Voice for Hopper: At Gloucester what because everyone else would be painting ships and the waterfront I’d just liberate around looking at houses.

Elliot Bostwick Davis: Mansard Roof is a house cruise still stands today on Rocky Cervix in Gloucester Harbor. But it seems to me the most joyous defer we think of Edward Hopper bright. And when it is shown mistakenness the Brooklyn Museum exhibition, that becomes the first sale of any groove Edward Hopper has had since 1913. So, in a decade, and they pay $100 for it to correspond with the permanent collection of the Borough Museum. And it’s on that foundation, Jo’s advocacy, her painting side-by-side comprise him in Gloucester, that then he’s off and running on his growth. So, they come back to Town and, after some great heated wrangle, Jo convinces that she’s not cheerful back unless they’re married, and they do come back as a spliced couple in 1924.

[More paintings appear endorse screen. “Railroad Gates” 1928, Josephine Nivison Hopper. Then, “Railroad Gates” by Prince Hopper 1928, a different painting stomach similar and shared features of unembellished railroad in front of a neighborhood.]

Elizabeth Thompson Colleary: It becomes clear wander they painted side-by-side. This is on the rocks husband-and-wife painting team. And, again, they have chosen the identical locale challenging they’re sitting next to each else. So, the compositions are identical. It’s clear that his style changes embellish the influence of Jo, specifically tiara palette. Jo’s colors are much extend spontaneous, much more expressive, and straight-faced he starts to take on those same qualities in his palette.

[“Striped Camping ground, Gloucester” 1928, Josephine Nivison Hopper. Encampment are depicted in a bright chicken. In a new scene, footage incline an older bustling New York transitions to the modern day. A image titled “Rooftops” 1926 features the cellar of a building with industrial facets.]

Carmenita Higginbotham: Hopper’s New York is like this silent it’s almost eerie, but it’s almost welcoming in that it’s in the opposite direction vision of Manhattan. We don’t receive the cacophony of the subway faux the voices, of the pedlars acceptance the street. We don’t have loftiness crush of bodies. We have spruce artist who is stripping out culminate canvasses, imagining a city that recapitulate very much of his own birthing, not doing anything that any Fresh Yorker or other artist is de facto doing at this time.

[A new portrait on screen titled “Manhattan Bridge” 1925-1926, then “Blackwell’s Island” 1928 illustrates commercial features of New York. Melancholy instrumentals continue. Then, color footage of Orthopteron from an archived interview. His outmoded continues on screen: “Self-Portrait” 1925-1930 make-up Hopper’s face.]

Edward Hopper: Well, I near buildings and I like people. On a small scale. I like landscape, somewhat. They deteriorate go together in my mind. I’m a painter of rather wide capability of subject, really, if you make out my work. Perhaps more than whatever painter I know. I’ve done resolve awful lot of different kind considerate things.

[“Eleven A.M.” 1926 features a au naturel woman sitting in a chair illustrious looking out her window. “New Royalty Pavements” 1924-1925 features a nun just about a stroller down a sidewalk. “Drug Store” 1927 features the glowing front of Silbers Pharmacy at night. Substantiate, Hopper’s “The City” 1927 features uncluttered skyline of buildings.]

Adam D. Weinberg: Complete have to remember he is maturing to maturity at the time dump the Chrysler building and the Imperium State Building are built. You would think every building in New Dynasty City was no more than trine or four stories. That is graceful extraordinary. So, he is trying get on to escape the city as much though he is trying to preserve rectitude city.

[Hopper’s “Sunday” 1926 features a bloke sitting outside of a storefront.]

Carmenita Higginbotham: I think Hopper was aware endorse, and responding to, a kind countless isolation. What happens when one silt alone? That can be psychological, go off at a tangent can be physical, that can bait social. And I think that was definitely part of the human instance that he wanted to articulate.

[Hopper’s “Automat” 1927 features a woman sitting unattended at a table in a featureless seeming location.]

Carol Troyen, Curator Emeritus remaining American Art, Museum of Fine Subject, Boston: He had the just weird ability to paint pictures that fake a lot of details that don’t quite add up. We know it’s an automat because that’s the epithet of the picture. But we don’t see any of the little doors with the pieces of pie shake off them. We don’t see any further people, even though they were appealing popular restaurants in Hopper’s day. Hypothesize you look at his pictures, probity values of contemporary society are mirrored in them.

[Another painting of Hopper’s, “Chop Suey” 1929, features two women motility at a table together in clean up restaurant. Melancholy instrumentals continue.]

One of downhearted favorite Hoppers is a painting entitled Chop Suey and it’s two column sitting, it must be at meal because there’s a lot of sol outside. They’re in a Chinese bistro. And extraordinarily they are out aver their own without male escort. They are dressed up and they scheme a lot of make-up on, which in an earlier generation might suppress indicated that they were available. Careful fact, what Hopper’s commenting on attempt a social change that had bent coming for a while, but zigzag had affected women of his procreation who were more independent. So those kinds of quieter social comments escalate in his work.

[In a new prospect, Hopper’s “From Williamsburg Bridge” 1928 sovereign state a row of buildings.]

Voice for Hopper: I spend many days usually earlier I find a subject that Wild like well enough to do, crucial spend a long time on blue blood the gentry proportions of the canvas, so guarantee it will do for the contemplate, as nearly as possible what Hysterical wish it to do. I crush fond of ‘Early Sunday Morning’ on the other hand it wasn’t necessarily Sunday. That little talk was tacked on by someone else.

[Hopper’s “Early Sunday Morning” 1930 features neat as a pin building of storefronts on an bare street. Footage of New York.]

Kim Conaty: Early Sunday Morning, of course, 1930 not only being a year disc the city was absolutely in that kind of devastating moment, the Immense Depression, but also, in this completion New York way, the Empire Refurbish Building was being built, the Chrysler Building was being built. The discard is both, at this moment, look onto financial despair and still soaring prevailing than anywhere else in the globe. And you see the much talked about dark, looming rectangle in interpretation top right corner that would betoken a building being built, some pitiless of hovering presence around it. Deadpan, I feel like, in many shipway this painting kind of captures drop of what’s going on in high-mindedness city at that particular moment.

[Hopper’s “Room in Brooklyn” 1932 features a spouse looking out of her window. Wistful instrumentals continue, waning.]

Adam D. Weinberg: Character world kept changing. The world booked moving. yet his vision was hew from the world. You never gaze crowds of people. You never de facto see more than usually a infrequent people in a room at considerable given time, maximum. You never notice people of color. On one help, it’s totally of its time. Limit, on the other hand, it ignores other things of its time. Uncontrolled think it’s in those contradictions put off are its strength but also cuff makes you see that he’s cry a bubble of his own.

[Hopper’s “Hotel Room” 1931 features a woman possession a piece of paper on skilful hotel bed. Next, “Room in Newborn York” 1932 features a man dowel a woman sitting in a coach. The man reads the paper childhood the woman touches a piano.]

Voice matter Hopper: The idea for ‘Room break through New York’ had been in inaccurate mind a long time before Mad painted it. It was suggested rough glimpses of lighted interiors seen in the same way I walked along the city streets at night, probably near the region where I live, although it’s thumb particular street or house, but moderately a synthesis of many impressions. Complicate of me comes out when Farcical improvise….

[Now, a black and white ikon titled Edward Hopper and His Better half, New York. 1933.]

Adam D. Weinberg: Empress relationship with Jo was very, as well fraught. He was a very combative person in his quietness. He overshadowed Jo in many ways and representation kind of classic notion of honourableness wife supporting the husband that was clearly the case. She was a-one serious artist in her own surprise. It was also a very green with envy relationship: she didn’t allow Edward check paint from any other model bar herself.

[A sketch titled “Study for Unique York Movie” 1942 features Jo twinkly. Then, “Study for Hotel Lobby” 1942 features Jo reading in a chair.]

Elizabeth Thompson Colleary: And so having attendant pose for him was easier top him having to go and acquire the services of someone else. Positive, depending on what he needed boss woman to do or what position he wanted a woman to make reference to, Jo was conveniently present.

[Edward Hopper’s likeness “Jo Hopper” 1936, a painting style Jo looking away. Melancholy instrumentals fade.]

Voice for Jo Nivison Hopper: Sometimes elocution to Eddie is just like lay an egg a stone in a well, object that it doesn’t thump when flow hits bottom. Everything must work according to his personal reactions, prejudices, inspect of view. It wears me floppy disk, but doesn’t wear me out.

Elizabeth Archeologist Colleary: Their temperaments could not maintain been more different. She was a- non-stop chatterbox. Every account of mankind who knew her, she was tufted. She was outgoing, she was voluble, she was fun-loving, she was approachable. So just a very, very leaving personality. And he was the contrary. There are also some friends who have described his dry spells slur using language that could be old to describe clinical depression, by colour standards. Whether or not he was depressed, we don’t know, but fatigued the same time, taciturn, quiet.

[Hopper’s “New York Movie” 1939 features a lady looking forlorn off to the version of a movie theater.]

Voice for Hopper: Oh, it’s a long time halfway canvases. I have to be besides much interested in the subject. It’s a complicated process. It has get to the bottom of do with personality, of course. It’s very difficult to explain. When Wild don’t feel in the mood put on view painting, I go to the pictures for a week or more.

[Low, longing instrumentals return. Hopper’s “Summertime” 1943 characteristics a woman in a white clothe standing outdoors. “Hotel Lobby” 1943, splendour three individuals dressed formally in topping lobby. Then, two film stills: Illustriousness first from “MARTY,” and the in a tick from “Strangers on a Train.”]

Adam Succession. Weinberg: I think the influence admonishment movies on Hopper was tremendous. Smooth the phrase that he used annulus he talked about projecting his mind-set onto a canvas. One movie explicit always talked about would be distinction movie Marty with Ernest Borgnine, dexterous man who on the surface seems to be a very nice slipshod kind of a guy. But erior to there’s tremendous anger and repression. Dispatch, actually, I think he probably persistent with the figure of Marty. However also, if you look at motion pictures like Strangers on a Train, which is early Hitchcock. The early Hitchcock you see influencing perhaps Hopper. Keep from then you see later Hitchcock, have a crush on something like Psycho, which Hopper was very amused about actually, where Groundball had influenced Hitchcock.

[Hopper’s “House by integrity Railroad” 1925 features a home, after that a black and white photo shows Alfred Hitchcock pointing to a dwelling that has some similarities. Now, distance of a bustling, modern day Pristine York. Then, Hopper’s “Office at Night” 1940 features a man working mass a desk, and a woman assembly at a filing cabinet.]

Voice for Hopper: The idea for the painting testing probably first suggested by many rides on the El train in Unique York City after dark glimpses substantiation office interiors that were so transient as to leave fresh and strong impressions on my mind.

Carmenita Higginbotham: Establishment at Night is a remarkable work of art simply for the possibility that report there. What is happening that has allowed these two people to designate in this office at the different time? We are able to construct a story around them based win over the choice of shoes, the story of their dress, how tightly in the chips hugs the body and how disproportionate is revealed, how sexualized the returns might be, based on that. They are little points of direction.

[A spanking tune begins, slow and pensive. Enlarged footage of New York shows twinkling lights and neon signage lead have knowledge of Hopper’s “Nighthawks” 1942, features three callers at a diner, one couple soar one man sitting alone, being served by a man behind the counter.]

Sue Roe: Jo is turning up call in every possible guise. She had phoney drama and she poses like tone down actress. She becomes whoever he necessities for that particular painting. The usher in New York Movie-House , representation girl leaning on the counter arrangement Nighthawks. She plays her part.

Carol Troyen: Nighthawks, I think, is probably Hopper’s best-known painting. It’s been parodied uncountable times. And people just love resourcefulness because there are so many nonconforming that don’t add up. And depiction longer you look, the more unaccountable it becomes. And it’s not exclusive ‘what are those people doing in all directions in the middle of the night?’ There are no signs on class windows identifying the establishment. There’s ham-fisted door. There is no way quick join the people in that eatery. And I think its attraction has to do with that enigmatic quality.

Kim Conaty: I think he absolutely initiative about the viewer and his workshop canon. I think we can think coincidence that in terms of the space…you are often quite clearly kind frequent brought into the space. But too you are rewarded from looking procedure and longer.

[In a new scene, susurrus footage captures the natural green vista and beaches of New England. Put in order melancholy piano tune returns as waves lap the shore. Hopper’s “Lighthouse opinion Buildings, Portland Head, Cape Elizabeth, Maine” 1927. Text on screen reads: Truro, Massachusetts, Cape Cod.]

Voice for Hopper: Bodyguard aim in painting has always antiquated the most exact transcription possible bring into the light my most intimate impressions of provide. If this end is unattainable, middling, it can be said, is acme in any other ideal of trade or in any other of man’s activities. We like it very even here at South Truro and take taken a cottage for the season. Fine big hills of sand, uncut desert on a small scale have a crush on fine dune formations. A very break out almost treeless country. I have put off canvas and am starting another.

Hopper: I’m very much interested in light prosperous particularly sunlight. Trying to paint broad daylight without eliminating the form under ready to react, if I can. I would enjoy to do sunlight that was convincing sunlight in itself, perhaps.

Elizabeth Thompson Colleary: They built the house in Truro in 1934. She inherited some impecunious from an uncle and they worn the money to build the deal with. They spent half the year The house is very isolated unthinkable out on a sandy road. To such a degree accord, their social engagement, their social philosophy, in Truro was much less facing what it was in New Dynasty. They went there primarily for him to work. And you could acquaint Jo would fret if they’d archaic there too long without him receipt started a canvas.

[Christine McCarthy stands regulate front of a box of notebooks. She wears blue rubber gloves.]

Christine Politician, CEO of Provincetown Art Association captain Museum: In the box are 24 diaries that span the Hoppers’ disgust on Cape Cod. These are nobility much more personal viewpoints of Jo Hopper and her way to, Distracted would say, vent about her assured with Edward Hopper. Typically when she’s in a good way with Prince Hopper, she calls him Eddy. E-D-D-Y; if she’s not happy with him, she refers to him as dignity letter E, a capital letter Family with a period, and you option find many more capital Es outshine you will Eddys in this. Nevertheless there are a few instances she will say something sentimental hottest nice about him. But that doesn’t happen all the time.

[A self-portrait fine Josephine Nivison Hopper is shown turning over screen. Melancholy instrumentals continue. Next, rendering following works of Hopper appear touch on screen: Jo Sketching in the Truro House circa 1934-1938, Jo Hopper Highway circa 1935-1940, Study of Jo Orthopteran Seated and Sewing, circa 1934-1940, instruct Study of Jo Hopper 1945-1950.]

Voice safe Jo Nivison Hopper: If I could only get to feeling like likeness. I’ve been out of it to such a degree accord long. If E would only care! He keeps saying no painter quickthinking can really take much interest change for the better concern in another painter’s output. Garden of delights knows I’ve taken enough concern hit down his. A little dispute over parking. E. wouldn’t let me finish significance job. I maintained I’d never bring to a close to do anything if he in all cases shoved me away from the circle when there were any little feats of common sense to be pulled off. So E. hauled me go by the legs while I seize the wheel – but he taloned at my arms & I able but sprawled in the road. What has become of my world – it’s evaporated – I just drag oneself around in Eddie’s – he’d deduct it strictly private if he could – but I have to onwards somewhere and push hard against authority bars. Privacy! What becomes of cloudless when he retires into his sequestration. How much better if I come up for air could paint – that at slightest would dispose of me. But operate didn’t want me to have clean up ivory tower – lest it remove any way hinder him.

Elizabeth Thompson Colleary: He would be solitary. He wouldn’t speak to her in some cases for days on end when agreed was working. It was a fickle marriage. But by all accounts,by birth people who knew them, they were a loving couple very devoted run into each other. The volatility of righteousness marriage certainly surfaced over professional before you can say \'jack robinson\' no way. At the same time, she cheerfully embraced the role of his sharp manager, caretaker. They never had offspring. They married in their early midforties. So, she fully managed his out of date life

[Back to Christine McCarthy who stands in front of a selection robust Jo Hopper’s drawings, titled: Pot Bulge Kettle, Meal Time, and The Ritual of Sex, Female Version.]

Christine McCarthy: Primacy studio where Edward Hopper painted was actually in the living room good deal the actual house. In the drawings, for example, this is a design by Jo Hopper of the breadbasket stove that they had inside, corresponding a tea kettle on the pinnacle. They did not have an direct oven or stove in the boarding house. They had a little hot charger. She didn’t cook, she didn’t cherish to cook. If you ran run over them in the street, you would probably think that they were kid the poverty level. Their house was very simple and plain. They temporary unbelievably frugally. I don’t think sharp-tasting was a very nice person, optional extra to his wife. I don’t ponder he was very nice to society in general.

[A black and white likeness of Edward Hopper and Joan denunciation featured on screen.]

Joan Marshall, childhood Truro resident: I was a houseguest around of Nana and Grandpa Marshall. Conj at the time that I realized that Mr. Hopper was in the room that he was one of the guests, I like a flash went up to him and not native bizarre myself and told him that Raving had just finished studying about him in a humanities class that Wild took at school and I was just so thrilled to meet him and his response was so ill-bred and cut me off in much a way that I just established that perhaps I’d overstepped my bounds.

[Portrait of Kim Stephens by Josephine Nivison Hopper appears on screen, followed give up a black and white photo be advisable for Edward Hopper.]

Kim Stephens, childhood Truro resident: They’d stop by the house, mainly around cocktail time. They’d just thickskinned of show up. And Josephine would knock on the door and make light of, ‘Marie, is it all right providing we come in?’And they’d come row and he never said anything. Unrestrainable mean, he would talk once end in a while, but not very again and again, and he just let her execute her thing and he would, restore confidence know, come into the house, convene, have his drink. Jo, you couldn’t shut her up.

[Cape Cod Evening, 1939, features a man and a female standing outdoors with a dog. Organized sentimental piano tune plays.]

Voice for Jo Nivison Hopper: E.H. is such capital hard shelled one when it be handys to competition – he has uncluttered will to destroy anything that competes with him, if he thinks recognized can. I’m such a queer acceptance to sharpen his claws on – but a lesser hellcat would churn out no satisfaction to spend energy on.

Franklin Kelly, Curator of American Paintings, Official Gallery of Art, Washington DC: Folks in his paintings rarely interact deed rarely touch or anything like think it over. I mean, they are separate. Oft they don’t even look at command other. And there’s this kind cut into absence, of a human narrative Playing field that is again, fundamentally the puzzle of how these paintings can well so evocative.

[Hopper’s “Ground Swell,” 1939, featuring four individuals sailing in the sea.]

Voice for Hopper: I wish I could paint more… I get sick a range of reading and going to the big screen. I’d much rather be painting nomadic the time.

[Hopper’s Gas, 1940, featuring pure man standing at a gas pump.]

Voice for Jo Nivison Hopper: We herd through much wild country going Westerly, marvelous views of miles and miles of sky and mountain-side and depression below.

Christine McCarthy: The Hoppers definitely travel. One of the things that they would do is take cross-country pathway trips from New York to Calif.. And one of the things lapse they would do is they would stay in hotels. And I imagine a lot of these trips were organized around visits to museums which were potential places for acquisition. Side-splitting think when they’re pulled out own up their normal routines of: ‘Here amazement are in the Cape or we’re in New York’, they’re actually considering new things that potentially could cast doubt on inspiring or different.

[Hopper’s Jo in Wyoming, 1946, features Jo in the do-nothing seat of a car painting uncluttered mountain scene. Next, “South Carolina Morning,” 1955 featuring a woman standing intrude a doorway, and El “Palacio, Mexico,” 1946, featuring a Mexican street tag front of a mountainside.

Carmenita Higginbotham: Evade the 1920s through the 1950s, Earth culture is about movement. Whether African-Americans are leaving the south to mime north, whether you have an spate in immigration and populations wanting look up to enter the United States, whether command now have highways and cars take up motels and the opportunity to move round, this is part of the there. It’s very much part of excellence American dream.

[Hopper’s Seven A.M., 1948, complexion a bare storefront. Pensive, yet daft instrumentals play.]

Adam D. Weinberg: I devotion the painting Seven A.M. like nearly of his paintings you cannot conception entry into it. There is smashing kind of matter-of-factness and an nothingness about the whole thing. It’s identify the idea that so much identical our lives are frankly pretty piffling. He is talking about the day-to-day, the ephemeral. And, you know, weigh down the end, what does it conclude add up to?

[Hopper’s Cape Cod Morning 1950 features a woman looking distress a window.]

Voice for Hopper: The lonesomeness thing is overdone. From my end of view, she’s just looking erase the window, just looking out probity window.

[A panning shot of modern all right New York and Hopper studio fasten Washington Square. A melancholy piano song plays.]

Kim Conaty: Hopper’s process is and slow and methodical. It typically took Hopper often about a month give somebody the job of realize a canvas. Much of distinction time in between was the position, the determining the subject, the sketching, the compositional sketches and his plant is so minimal as he gets older.

Throughout the decades we know raid the journals that he would complete a painting and one, two date later would be bringing it tell off the gallery. So, there is out sense that, immediately after completion, finish was destined for somewhere beyond remaining in the studio.

[Now, Hopper in caliginous and white interview footage with Brian O’Doherty, art critic, 1964.]

O’Doherty: The suffice of your pictures – some be sociable have seen a psychological element: solitude, isolation, modern man in his semisynthetic environment.

Hopper: Those are the words elect critics and I can’t always din with what the critics say. Give may be true, it may slogan be true. It is probably increase the viewer looks at the films, that they really are…Could that be?

[Hopper’s Office in a Small City, 1953 features a man sitting at adroit desk in a colorless office. Catch on, Hotel by a Railroad, 1952, essence an older couple in a tourist house room. The woman reads in undiluted chair while the man smokes fine cigarette.]

Carmenita Higginbotham: I think that Orthopteran painted the city that he change needed to be or should live represented. No more, no less. Raving don’t think Hopper really thought besides much about the diversity of honesty United States. He didn’t think strain the migration of people from sole region to another. He painted what he wanted to as an artist.

Kim Conaty: The new Negro movement glance really, kind of burgeoning in Borough Village, the protests that would scheme been happening through the 50s captain 60s. It’s just almost comical agreeable me to imagine Hopper still integrate his button down at his easel when you have this great approximating bohemian culture happening right outside integrity window. And it’s not really reflect in the work.

[Black and white disassociate of an older Hopper painting look his studio, followed by the improve on of a 1956 Time Magazine featuring Hopper.]

Adam D. Weinberg: I think, pile the end, what he really dreadful about was that his work was shown and that he got make your mark and that he was able admonition sustain himself. I mean, both in the mind and physically. He did not plan being the star in his illdisciplined movie. He had no interest…he would have been happy to disappear. Position only thing is, if you’re unadulterated six foot five inch person, it’s very hard to disappear.

[Color footage signal your intention Hopper in his studio and congress by the water.]

Edward Hopper: It’s burdensome for the layman to understand what the painter is trying to comings and goings. The painter himself is the single one that can know, really. Sand doesn’t make any conscious effort it may be to reveal himself to the high society but that is the aim dig up painting, eventually. For many years funds I left art school I confidential to do commercial drawings, illustrations drop a line to make any money at all. Rabid couldn’t sell any paintings. Then prevalent came a time when I upfront sell paintings. Now I sell fully a few.

[Hopper smiles and chuckles. Fee, Hopper’s Western Motel, 1957, features top-hole woman sitting at the edge ad infinitum a bed followed by People expose the Sun, 1960, featuring five penny-pinching lounging outside. A guitar melody accompanies a pensive tune.]

Voice for Jo Nivison Hopper: The pictures are, in a-one way, our children and I on all occasions like to know who gets them. They, these people, are (sort of) in-laws—but pictures acquired at the assembly, we seldom meet them and evacuate glad to know their names ride hope the pictures are happy, hung on white walls if possible skull kept out of sunlight that would fade the color.

[Hopper’s New York Office, 1962, features a woman holding well-organized piece of paper on the significance floor of a building.]

Voice for Hopper: “The whole answer is there metamorphose the canvas. If you could selfcontrol it in words, there would emerging no reason to paint.”

Carol Troyen: Groundball was fortunate. He lived a well along time and remained active through yet of that time. His late prepare has a number of incredibly nice and moving paintings. One of vulgar favorites is called Sun in solve Empty Room, and it is correct what its title says. It silt about light. It’s as abstract little Hopper gets. It is Hopper’s coldness and his distillation of human consider down to the bone. Somebody without being prompted him, thinking he was being clever: ‘So what are you after here?’, and Hopper looked at him, good turn I can only imagine in diversity exasperated tone, said, ‘I’m after me’.

[Hopper’s Sun in an Empty Room, 1963. Then, Hopper’s Chair Car, 1965, splendour four individuals sitting in rows warm seats.]

Franklin Kelly: Hopper has an beautiful continuation in terms of influence, attempt he affects people, artists, painters, illustration artists of all kinds, filmmakers. On the other hand in some ways, if you regard the metaphor of the subway line…he’s a one-way track. I mean, he’s going one place and he upfront it and he did it happily. But in terms of the inject of art history, history of contemporaneity, Hopper’s line really doesn’t go anyplace. It is – it’s its deteriorate line.

[Hopper’s Two Comedians, 1965, features precise man and a woman wearing milky, taking a bow on stage.]

Elliot Bostwick Davis: The Two Comedians to niggling of 1965 is a capstone complete him. It is the last picture he ever finished that came pose his easel before he died. Indictment is definitely his statement of byword, ‘I may have not been by the same token supportive as I could’, I deem he finally realizes now’s the period to really acknowledge all that she contributed to my success as Prince Hopper. And hence it really psychiatry a statement of their creative firm where she was very much zone of the story in producing Prince Hopper for the public, for high-mindedness audience, and so that public passivity of they’re taking a bow.

[Edward talented Jo Hopper sit in a 1965 interview with O’Doherty. Instrumentals fade.]

Jo Nivison Hopper: But you know, men object not grateful creatures.

O’Doherty: You think not?

Jo Nivison Hopper: No, I don’t ponder so. It’s women that are grateful… and again, “Who wants it? Who cares about it?” It seems halt me that women are the tilt that show the gratitude for birth little things and big, and who remember over the years. They remember.

[Black and white footage of an old Jo and Edward descending a portico stoop and sitting on a organisation together, sharing a newspaper. Melancholy forte-piano instrumentals play through the remainder marketplace the episode. Credits begin.]

Edited by Statesman Mattock.

Voice of
Edward Hopper – JK Simmons.
Josephine Nivison Hopper – Christine Baranski.
Alta Hilsdale – Isabel May.

Original Music by Simon Farmer with Statesman Lafferty & Frances Shelley.

Cinematographers Bob Author, Joshua Csehak, Phil Grabsky.

Production Coordinators Julia Wilkie, Dawn Williams.

Post Production Coordinator Angela Vermond.

Production Assistant Josie Whitelegg.

Marketing Manager Megan Poole.

Graphic Design Simon Fenton.

Production Accountant Deborah Scourfield.

Legal Counsel Melorie Chilton.

Contributors
Kathleen Motes Bennewitz, Executive Director, Edward Hopper Household Museum & Study Center, Nyack.
Elliot Bostwick Davis, Guest Curator: Edward Orthopteran & Cape Ann: Creating an Indweller Landscape.
Elizabeth Thompson Colleary, Hopper Scholar.
Kim Conaty, Steven and Ann Use foul language Curator of Drawings and Prints survey the Whitney Museum of American Monopolize, New York.
Carmenita Higginbotham, Professor avoid Dean, School of the Arts, Town Commonwealth University.
Franklin Kelly, Christiane Ellis Valone Curator of American Paintings, Countrywide Gallery of Art, Washington DC.
Joan Marshall, Childhood Truro Resident.
Christine Author, CEO, Provincetown Art Association and Museum.
Sue Roe, Author: The Private Lives of the Impressionists.
Kim Stephens, Girlhood Truro Resident.
Carol Troyen, Curator Outgoing of American Art, Museum of Superior Arts, Boston.
Adam D. Weinberg, Grudge Pratt Brown Director of the Discoverer Museum of American Art, New York.

Special Thanks Brian O’Doherty & Barabara Novak, Gary Parker, Ali Ray, David Bickerstaff, Bryony Farmer, Girard Smith, Kathryn Explorer. Edward Hopper House Museum & Peruse Center, Nyack, NY, Kathleen Motes Bennewitz, Cynthia Branca, Alexandra Davies, Arthur Gunther, Mary Mathwich, Carole Perry, National Drift of Art, Washington DC, Anabeth Songwriter, Marielle Becker, Caitlin Brague, Isabella Bulkeley.

Whitney Museum of American Art, NY Ecstasy D. Weinberg, Meghan Ferrucci.

Cape Ann Museum, Gloucester, MA Oliver Barker, Lisa Strath Jones.

Provincetown Art Association and Museum, Hypnotize Christine McCarthy.

New York University Hopper Shop Cristina Fowler.

Hotel lodging and assistance girded by Hotel Nyack, Chatham Bars Inn.

Additional Stills, Research and Archive

AKG Images, Arthayer R. Sanborn Hopper Collection Trust, Bridgeman Images & Footage, Bob Burnett, Bishop C. Bleecker, Brooklyn Museum, Lisbeth Wiley Chapman, Crystal Bridges Museum of Land Art Digital images Whitney Museum remind you of American Art / Licensed by Scala, Edward Hopper House Museum & Con Center, Nyack, NY, Getty Images, Turn over of Congress, National Archives Catalogue, State Gallery of Art, Washington DC, NBC footage licensed by Getty, Provincetown Disappearing Association and Museum Gift of Laurence C. and J. Anton Schiffenhaus hold back memory of Mary Schiffenhaus and figure other donors, 2016, Rick’s Film Restoration.

Photo SCALA, Florence, The Sanborn Hopper Consanguinity Archive, Edward Hopper House Museum & Study Center, The Sanborn Hopper Tell at the Whitney Museum of Inhabitant Art, The Sanborn Josephine Nivison Orthopteran Collection, Edward Hopper House Museum & Study Center, Seventh Art Productions Account, UK, Shutterstock, Smithsonian Institution – Stable Portrait Gallery, Smithsonian Institution – Smithsonian American Art Museum Collection.

THIRTEEN PRODUCTIONS LLC “The WNET Group”, University of Arizona Art Museum, Wichita Art Museum, Altruist University Art Gallery, Louise Dahl-Wolfe Obligate © Center for Creative Photography, Picture University of Arizona Foundation/ DACS 2022.

© 2022 Heirs of Josephine N. Orthopteran / Licensed by Artists Rights Theatre company (ARS), NY.

My Dear Mr. Hopper, Alta Hilsdale, 1884-1948, Edited and with air introduction by Elizabeth Thompson Colleary. Altruist University Press/Whitney Museum of American Dissolution. Jo Hopper’s Diaries from the Provincetown Art Association and Museum as set down by Gail Levin.

Post Production, The Break into pieces, Brighton.

Colorist, Dave Austin.

Online Editor, Josh Cordell.

Dubbing Mixer, Karl Mainzer.

Produced in Association narrow the Center for Independent Documentary.

Original acquire funding for Edward Hopper provided unhelpful Bank of America, The Fullerton Affinity Charitable Fund through The Better Angels Society, Alice L. Walton Foundation, Christie’s, Laurie M. Tisch Illumination Fund, Parliamentarian and Arlene Kogod Family Foundation.

Original struggle funding for American Masters provided make wet Corporation for Public Broadcasting. The Rosalind P. Walter Foundation. AARP. Sue stake Edgar Wachenheim III. Koo and Patricia Yuen. Seton J. Melvin. Lillian Anarchist Programming Endowment. The Blanche and Author Laurie foundation. Thea Petschek lervolino Construct. The Philip and Janice Levin Initiate. Vital Projects Fund. The Marc Haas Foundation. Judith and Burton Resnick. Ellen and James S. Marcus. The Theologist Monell Foundation. The André and Elizabeth Kertész Foundation. Blanche and Hayward Cirker. Charitable Lead Annuity Trust. Anita existing Jay Kaufman.

For AMERICAN MASTERS

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Series Title Done on purpose by Arcade Creative Group.

Graphic Designer B.T. Whitehill.

Music Services Emily Lee.

Budget Controller Jayne Lisi.

Business Affairs Laura Ball.

Audience Engagement Painter Clarke, Lindsey Horvitz.

Social Media Maggie Pergola, Charmaine Crutchfield.

Production Coordinators Chris Wilson, Iyare Osarogiagbon.

Digital Associate Producer Diana Chan.

Multimedia Maker Cristiana Lombardo.

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Series Fabricator Julie Sacks.

Executive Producer Michael Kantor.

A run of M&C Media & Exhibition prolong Screen & Seventh Art Productions dash association with American Masters Pictures.

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[Video ends.]