Tomorrow in the city of Hopper

Tomorrow in the city of Hopper
Tomorrow in the city of Hopper
Anonim

We are going to compare two works by the American painterEdward Hopperin which some of the constants of many of his paintings appear. For example, the painting of interiors that open up to the city, loneliness, women, themes that we have already seen in works such as Hotel Room or Compartment C, Car 193.

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Tomorrow in Hopper's Town

In this case we are going to talk about Tomorrow in the city painted in 1944 and kept in the Williams College Museum of Art in Williamstown . Work that we will compare with Morning Sun, made a few years later, in 1952, and which can be seen at the Columbus Museum of Art in Ohio.

In the first we see a room, with an unmade bed and a window open to the city. A completely naked woman stands in the center, carrying a towel in her hand, which indicates that she is in the middle of her morning toilet. But she has gotten up and is looking out the window, or rather she is moving her gaze from the window to a part of the room that we cannot see, since the painter has not included it in the painting.

The feeling inside the room, the darkness, the nudity and that attitude of being fearful or distracted looking at something, makes us see that woman as someone vulnerable. Outside of her it seems that she shines the sun, but she is in darkness, although the light bathes her naked body thatHopper has painted crudely.

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Hopper's Morning Sun

On the other hand, in the case of Morning Sun, the woman in the room is dressed, sitting on the bed and dedicated precisely to looking outside, at the light. It is a different attitude and a stronger light, but it also reflects the loneliness and weakness of women. It is a contemplation of the exterior, but with doubts and misgivings, something that we see above all in her rather rigid expression, without transmitting joy.

The woman fromTomorrow in the cityprotects herself from the light and from what she can do with that towel. The woman in Morning Sun is completely exposed to that morning light. The light almost bewitches her and turns her into an object. Although in reality that is what Hopper does when playing in this work with projections and reprojections, because in reality, regardless of the theme of the painting, the absolute protagonist of this image is the light that enters through the window, illuminates this seated woman and generates a light box on the wall, as well as shadows. After all, it treats the space, the objects and the person the same, all of them treated as elements exposed to light.

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