 |
| Edward Hopper, Early Sunday Morning
(1930) |
In Hopper's typical city paintings, on the contrary, the horizon has
disappeared, and its absence signals the collapse of the grand narrative
for which it served as metaphor. Hopper's point of view is usually
horizontal or downlooking.
 |
| Edward Hopper, Two on the Aisle
(1927) |
In Hopper's city paintings, we rarely look up. The
horizon, which could serve as a symbol of individual freedom in rural
America (and which appears repeatedly in Hopper's own paintings of Cape
Cod and the Southwest) is blotted out from Hopper's New York sky.
[Click for APPROACHING A CITY (1946), THE
CITY (1927), BRIDLE PATH (1939)] [Click for AUTOMAT
(1927), MAIN STREET or SUNDAY (1926), OFFICE AT NIGHT (1940)].
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