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EDWARD HOPPER in CRITICAL CONDITION by JAMES BARRY

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EDWARD HOPPER in CRITICAL CONDITION by JAMES BARRY EDWARD HOPPER IN CRITICAL CONDITION by JAMES BARRY BLEDSOE M.A., University of British Columbia, 1974 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Anthropology and Sociology We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA June, 1974 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that; the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department: or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of A«rfk fbp^l^'-j <=Pn£ Socjo/o^^ The University of British Columbia Vancouver 8, Canada Date August lj 1974 Abstract This thesis is about the relationship between an artist and his critics. It explores how critics develop ways of interpreting a painter's work which be• come established as the meaning of his paintings. Edward Hopper's paintings are basically ambiguous. They can be de• ciphered in a number of ways depending upon what set of interpretive procedures are used to unlock them. Therefore any consistency in the written description of his work can be looked upon as a perceived accomplishment of the critics. We have been taught how to interpret Hopper through the professional written analysis of the art critic or art historian. In their reviews critics make available a set of assembly instructions for unlocking the meaning of his paintings. Through these we learn how to decode them. For the past forty years Hopper's work has been characterized as lonely, timeless and alienated. This thesis argues that this interpretation is largely the work of Hopper's critics. It cannot be derived from his paintings as such. An important method for establishing such perceptual concensus is a classificatory pro• cedure available to critics, known as the genre concept. This concept helps to impose an order on the formal properties of a work of art. ii The genre to which Hopper's paintings were originally assigned is the narrative painting tradition. Story-telling is the primary goal of the narrative painting tradition. It is a form of painting where the material is representational with the intention of seeing the painting as part of a sequence of events. In applying the concept to Hopper's work, the strict story-telling defi• nition is modified. Hopper's paintings do not fit completely the representational requirements of narrative painting. Attention becomes focussed on the situational episode rather than an on-going story. The specific qualities of timelessness, alien• ation, and loneliness emerge, it is argued, as a product of the application of the narrative genre to paintings which do not fully conform. Thus the special qualities with which Hopper's work is identified are seen as a product of the critic's own interpretive work in interaction with the paintings themselves. The thesis further explores how this effect is accomplished by describing the build-up of a critical tradition among critics of Hopper's work in the 1930s and '40s. The specific practices used by critics in establishing an interpretive concensus are described. The primary methods used are: (1) Special insider's knowledge about the artist himself; (2) the use of one another's critical reviews as a resource file; and (3) the critic's privileged use of the artist's own statements. Once the gradual establishment of the interpretation becomes recognized as the legitimate interpretation of his work, this also creates a selection of the painter's work as a central corpus. This consists of those paintings which typically confirm the critical consensus and which recur again and again in the critical dis• cussion of his work. Paintings which do not fit the established interpretive pro• cedures are relegated to the sidelines. These interpretive procedures are passed on by the critics to the reader who learns from them how to recognize the important works of a painter and how to look at and interpret them. This is part of the process of cultural mediation. Through this passing on of interpretive procedures critical traditions are constructed and maintained. 0 Acknowl edgments I wish to dedicate this thesis to the people who have taught me sociology. Each one has had a part to play in my education, each one has had some• thing to do with the kind of sociologist I am. I have learned from all of them, and would like to think that if anything I say is worth listening to it is a commentary on the quality of the teaching, and not on the quality of the pupil. I list them in the order in which I met them: Gary Shogren (I know he would prefer to be called a student of human nature), Jerry Olson, Ron Silvers, Jim, Dorothy Smith, and Phil Roth. I would like to say a special "thank you" to Dorothy Smith who made me come to know what it means to say something clearly and accurately. She saw the potential value of this work when it was nothing more than a sketchy idea, and would not let me be satisfied until I had fully explored the subject and developed my thoughts completely. Her formulation of interpretive pro• cedures in discussions with me contributed considerably to the overall theoretical framework. J.B.B. Vancouver, B.C. 1974. Table of Contents Page Abstract • Acknowledgments iv Chapter I - The Problem Formulated and Put in Perspective 1 Chapter II - The Initial Problem of Categorization 17 The Genre Concept 18 The Narrative Painting Tradition 29 Chapter 111 - The Construction and Establishment of the Interpretive Tradition 35 I The Narrative Painting Tradition : Main Sequence \ 35 II The Narrative Painting Tradition : Modified Sequence 44 Summary 57 Chapter IV - Edward Hopper's Own Contribution 58 (1) The Descriptive Frame 66 (2) Hopper and Alienation. 68 (3) Hopper and Loneliness 69 (4) The Stoppage of Time 70 Chapter V - "Champions are Made not born" 74 (1) Insider's Knowledge 76 (2) Reviews as Resources 85 (3) Critic's Privileged Interpretations 86 Chapter VI - Locating the Assembly Instructions 97 vi Table of Contents - continued Page Conclusion 108 Epilogue: Mrs. R. G. Williams. Docent 113 Appendices: Appendix A 117 Appendix B 119 Notes*. 120 Bibliography 126 I The Problem Formulated and Put in Perspective "Inherited ideas are a curious thing, and interest• ing to-observe and examine". Mark Twain - A Connecticut Yankee in King Arthur's Court. If any one word can best describe how Edward Hopper's work first affected me then it would be 'nostalgia'. Thinking back on it now, it was the first feeling 1 can remem• ber having toward any of his paintings. I first discovered Hopper back in 1966 or '67 when I was still an undergraduate. I had been studying in the college library one Sunday after• noon and - being bored with what I was supposed to be doing - picked up an art book that someone had left lying on the study table where I was working. As I began turning pages one painting caught my eye. It was a painting of a gas station, vintage 1940. What had caught my attention in the painting was 'The Sign of the Flying Red Horse1, an old emblem for the Mobil Oil Corporation. By the time I first saw the painting, this sign had already gone the way of old worn-out corporate symbols, but it reminded me of a gas station that had stood on a corner not far from where I had once lived when I was growing up. I now realize that when the work was painted that is what a gas station looked like. The painter was not dealing with nostalgia at all but merely a scene from 1940 America. In the rather casual way I was introduced to the painting, however, I felt that whoever the artist was, he must have had a degree of insight in order to recognize some of the objects that were beginning to be considered as memorabilia. The artist had helped me to think about my old neighborhood; Rexall drug stores, comic books, yo-yo contests, children who had grown up and moved away. It was quite a 2 pleasant experience for me and one that I enjoyed far more than whatever had taken me into the library originally. Eventually I put the book down and went back to my other studies without it ever occurring to me that I should write down the name of the painting, the artist, or the book the painting appeared in. Nevertheless, the painting stayed with me, stored away in the back of my mind along with a thousand other images, odors, and sounds that I would never be able to footnote or give a source for. I still remember the way the road led away from the gas station and into the approaching darkness, the way the light came pouring out of the door and windows, the neat, clean, well-scrubbed quality as in Hemingway's A Clean Well Lighted Place, and the flood lamp shining down on the Mobilgas sign and the tree directly behind it. The painting had left an impression on me, had cast its spell, and over the years I found myself regretting the fact that I had not written down the name, of the artist so that I could look at the painting again.
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