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ArtOctober 2007 Exhibition note by David Yezzi On "Edward Hopper" at the National Gallery of Art, Washington, D.C.
"Edward Hopper"
The National Gallery of Art, Washington, D.C. September 16, 2007-January 21, 2008 Edward Hopper’s paintings suffer from the same popular misconception that plagues the poems of Robert Frost: we feel that we know them. Hopper, like Frost, is a wholesome, all-American pastoralist, unfailingly accessible to the point of warm-fuzziness and quick to register pleasing, iconic images. One might think so, but look again. It took Lionel Trilling’s famous birthday toast to uncover the terrifying poet beneath Frost’s New England farmer façade. The Nation- al Gallery’s Hopper retrospective—which ranges from early etchings and watercolors to Hopper’s famous Chop Suey (1929) and Nighthawks (1942)—shows the painter as something more than a genial realist. His attractive surfaces and inviting use of color notwithstanding, something darker and considerably lonelier ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 26 October 2007, on page 50 Copyright © 2008 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/exhibition-note-19-3645
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