Edward Hopper - ACE102.5

House by the Railroad (1925), regarded as Hopper’s "breakthrough". Peck’s VO wondering if "there’s much more to be said about him, biographically" as "the events in his life were his paintings. 11 A.M. (1926). Night Windows (1928). Lighthouse Hill (1927). Chop Suey (1929). Early Sunday Morning (1930). Hotel Room. New York Movie (1939). Office at Night. Five studies for Office at Night. Girlie Show. Gas (1940). Nighthawks. Hotel Lobby (1943). Cape Cod Morning. New York Office (1962). Sun in an Empty Room (1963). Peck’s VO says he thinks of this as Hopper’s last painting because "he finally dared to paint just the thing he said he was always after", though Two Comedians (1966) was actually the last. Peck listening to recording of Hopper talking about not wanting to be identified as an "American" painter. Peck believes Hopper is inescapably American. Automat (1927). Illustrations from book of American Scene Painters. The magazine Reality. Levin and Peck talk about the anti-Modernist, anti-Abstract-Expressionism debate in America, and discuss Hopper’s place at this period. Peck suggests the arguments must have given implicit approval to Hopper’s work.