"If you could say it in words there would be no reason to paint." So said
Edward Hopper, the great American painter. Famously taciturn, Mr. Hopper was difficult to interview, the traditional goes, and was often unable or unwilling to explain much about his work or motivation. But regardless, his work speaks to me and to untold numbers, and I'm not always sure why that is. Regardless, a Hopper painting almost always evokes a complicated response. His "
Early Sunday Morning," (above) dating from 1930, is a great example. We see a deserted street of storefronts and windows, morning light raking across. There is no one, not even a dog, on the street. The shops are dark and quiet. For me, this is an exquisite expression of loneliness at the break of day. It speaks to me.
As a painter, my goal is to move the viewer, evoke a response. The response doesn't have to be an emotional earthquake, a little thrill of recognition is enough. My hope is that one of my realist works will speak to a viewer as Hopper's painting speaks to me.
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Hoff, "Poppy," oil on panel, 5x7 |
A few years ago, at a street festival where I was exhibiting work, the final day was winding down. At a street festival, especially a multi-day show, the final few hours are often fraught--a selling flurry, worry about striking the exhibit, packing up, the drive home, etc. Feeling a bit frazzled I was standing outside our booth when a man and a boy came walking up. The man inquired about a very small still life, about 5x7, and confirmed the price. When I told him how much, he turned to the boy and asked if he was sure he wanted the painting, and the boy nodded. "Well, give him your money then," the Father said. So the boy handed over the price in cash. He seemed very very happy. He had seen the painting, gone home and gotten the money from savings, and came back to buy it. He was seven years old. When I asked him why he wanted the picture, he said, "It spoke to me."
So far as I am concerned, the answer would have been payment enough. Here's the painting.
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