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Hopper loved to show what is known in theater parlance as the "retarded moment." The animation of urban life is suspended for a brief moment, haste and unrest come to a standstill, revealing the absurdity of the rat race. A secretary behind a big picture window holds a letter in her hand, apparently lost in thought - until the telephone ringing on her desk recalls her to the real world.

 

Hopper's depictions of office scenes are interiors, or at least suggest this point of vantage. New York Office is an exception. Here we stand outside looking into an office, perhaps a bank. Our role is that of a passerby hurrying along the sidewalk. But suddenly we are caught up short.

New York Office - Edward Hopper

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New York Office - Edward Hopper Poster
Rolled • 17x12 inches
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New York Office - Edward Hopper Poster
Framed • 17x12 inches
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New York Office - Edward Hopper Art Print
Rolled • 12x10 inches
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New York Office - Edward Hopper Art Print
Rolled • 18x15 inches
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New York Office - Edward Hopper Canvas Print
Rolled • 12x10 inches
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New York Office - Edward Hopper Canvas Print
Rolled • 18x15 inches
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Small Size

New York Office - Edward Hopper Canvas Framed Print
Framed • 12x10 inches
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New York Office - Edward Hopper Canvas Print
Wrapped • 12x10 inches
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Compact Size

New York Office - Edward Hopper Canvas Print
Wrapped • 18x15 inches
Compact Size

Compact Size

New York Office - Edward Hopper Canvas Framed Print
Framed • 18x15 inches
Small Size

Small Size

New York Office - Edward Hopper Framed Print
Framed with Mat • 12x10 inches
Compact Size

Compact Size

New York Office - Edward Hopper Framed Print
Framed with Mat • 18x15 inches
Compact Size

Compact Size

New York Office - Edward Hopper
Compact Size

Compact Size

New York Office - Edward Hopper

Hopper loved to show what is known in theater parlance as the "retarded moment." The animation of urban life is suspended for a brief moment, haste and unrest come to a standstill, revealing the absurdity of the rat race. A secretary behind a big picture window holds a letter in her hand, apparently lost in thought - until the telephone ringing on her desk recalls her to the real world.

 

Hopper's depictions of office scenes are interiors, or at least suggest this point of vantage. New York Office is an exception. Here we stand outside looking into an office, perhaps a bank. Our role is that of a passerby hurrying along the sidewalk. But suddenly we are caught up short.

Edward Hopper is widely acknowledged as the most important realist painter of twentieth-century America. Hopper derived his subject matter from two primary sources: one, the common features of American life (gas stations, motels, restaurants, theatres, railroads, and street scenes) and its inhabitants; and two, seascapes and rural landscapes.

 

No one captured the isolation of the individual within the modern city like Edward Hopper. His imagery of figures within urban settings go well beyond their role as modern cityscapes, exposing the underbelly of the human experience. His work demonstrates that realism is not merely a literal or photographic copying of what we see, but an interpretive rendering.

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