You know how beautiful things are when you're travelling.' Hopper once said: 'To me the most important thing is the sense of going on. Some paintings, such as his celebrated image of a gas-station, Gas (1940), even have elements which anticipate Pop Art. Sometimes he expressed aspects of this in traditional guise, as, for example, in his pictures of lighthouses and harsh New England landscapes sometimes New York was his context, with eloquent cityscapes, often showing deserted streets at night. 'Hopper became a pictorial poet who recorded the starkness and vastness of America. Yikes! Kind of a terrible vision of the city, but one that still enchants me. Here light is something to shy away from. In this light, instead of being comforting, Hopper's virtuosic use of light becomes something frightening, alien, and harsh. Looking through his eyes at other people talking intimately always gives me that feeling of being a stranger, of walking through a city where you don't know anyone or anything, of 'not speaking the language'. The public spaces - streets, cafes, big urban windows - just seem all the more distant. All his images of cities and city streets seem to make the city beautiful but oppressive. Plus, you have the added melancholic feeling of looking at the old lost, car-sparse city of the 1920s.Īt the same time, to me his paintings are almost all about the inevitability of loneliness. He treats sidewalks and streets with such loving detail that you know he must have spent a lot of time looking out his Greenwich Village window, into other New York windows, and hanging around in parks. Edward Hopper (1882 - 1967) is at the top of my list of favorite sidewalk painters.

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