The show of Edward Hopper’s paintings of New York, at the whitneymuseum, is “unmistakably intense and emotional,” Adam Gopnik writes.
, at the beginning of the century, and has now become so familiar an “amenity” that we almost forget about it, or sneer at its pretensions: “The High Line district, indeed!”
, “models of therapeutic reserve,” deferential to their subjects even as the painter scans their psyches. In the beautiful, early “Night Windows,” of 1928, a woman, headless and seen in half form, bends in her red slip in her brightly lit apartment as we look inside. It is not a provocative but a functional gesture, made sexy only by our fleeting view of it. The opposite of voyeuristic, it is intimate, if only for a second—we are briefly inside the room as we pass by outside.
As one walks through the show, various art-crit distinctions and determinations emerge under one’s necessarily patient gaze—as one must do more than even the normal amount of hopping and skipping among the crowd to get a view of each picture. Hopper was a remarkably awkward animator of line, his famous stillness as much accepted as won, the stability of his forms implanted in the limitation of his line.
Yet if Hopper is part of the bad conscience of American modernism, he is part of the civic consciousness of New York.
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