Edward Hopper has tortured me for many years.
Some of his paintings serve as bedrock leitmotifs for my entire pilgrim existence.
…But now, “New York Pavements.” Never seen, nor heard tell of it before.
What is the man trying to do to us? When you add wind; when you add off-centeredness and obscurity; when you put a child into this Hopper lens…
His other paintings enclose us in the jail-cell of modern urban solitude. But the sun shines in at the edges, or the night air has some freshness of dawn. The gauze that encloses the world is permeable.
“New York Pavements,” on the other hand, skewers us under a pitilessly overcast sky. And it’s cold. And…Why? why? my God, why do we roll perambulators down the street?
Walter Chrysler, Jr., bought “New York Pavements” in 1976. Did he buy it in order to have a Hopper in his collection? Or did he buy it because he wanted this Hopper in his collection? Did Chrysler catch the over-the-top Hopperness of this one?