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REPETITION: a Study in Visual Form Using Selected Artworks by Edward Hopper

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REPETITION: a Study in Visual Form Using Selected Artworks by Edward Hopper City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 REPETITION: A Study in Visual Form Using Selected Artworks by Edward Hopper Lauren Irwin The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1212 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] REPETITION: A Study in Visual Form using Selected Artworks by Edward Hopper by LAUREN IRWIN A dissertation submitted to the Graduate Faculty in Clinical Psychology in partial fulfillment of the requirements for the degree of Doctor of Philosophy The City University of New York 2016 ii © 2016 LAUREN IRWIN All Rights Reserved iii This manuscript has been read and accepted by the Graduate Faculty in Clinical Psychology in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ________________________________ Date Lissa Weinstein, Ph.D. Chair of Examining Committee ___________________ ________________________________ Date Maureen O’Connor, Ph.D. Executive Officer in Psychology Diana Diamond, Ph.D. Steven Tuber, Ph.D. Diana Puñales, Ph.D. Benjamin Harris, Ph.D. Supervision Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract REPETITION: A Study in Visual Form using Selected Artworks by Edward Hopper by Lauren Irwin Adviser: Professor Lissa Weinstein An attempt was made to study the form, function and patterns of repetition as expressed in visual form. A selected series of paintings by the artist Edward Hopper spanning a period of over thirty years served as the data set and was examined using an integrative approach combining both psychoanalytic theory and art criticism. The paper explored firstly, how unconscious fantasies shaped the content of Hopper’s selected works, the function of the repetitive form of visual expression, and the possible psychic determinants. It was suggested that early childhood issues remained ongoing areas of conflict that continued to find repeated symbolic expression and influenced his portrayals of women, particularly those in this study, throughout his career. Secondly, the specific patterns of repetition in terms of exact versus variable repetition as expressed in visual form were examined. Linguistic research suggests that exact linguistic repetitions are linked to unrepresented psychic contents and that when a person is able to use a narrative to describe the same event that is rich, imagistic and evocative, and not repetitive, that it marks a shift in psychic change in terms of a higher level of organization and representation of an experience (Halfon & Weinstein, 2013). This work examined whether the same may be applied to visual repetition. The paper concluded that it was possible to identify painterly equivalents of verbal repetition and that visual repetitive patterns may be valid markers for psychic change. v Thirdly, this work explored the presence of repetitive affect in the selected paintings and its possible meanings. Hopper’s artwork repeatedly evokes universal feelings such as “isolation” and “loneliness.” In addition, the selected artworks in this study repeatedly elicited dichotomous feelings such as “tense” and “calm” within the same artwork. It was suggested that differing levels of affect represented constitutional characteristics as well as underlying areas of conflict for the artist as projected repeatedly in visual form. This study indicated that the process of repetition might be studied in visual form in terms of the expression of repetitive unconscious fantasy, visual patterns and affect. The varying forms of repetition could be observed and tracked across selected artworks and may be indicative of internal conflicts and/or psychic change. When working with patients who are artists or those more visually oriented, tracking repeated patterns expressed in their artworks may be clinically helpful in evaluating therapeutic progress. vi Acknowledgments First and foremost, I would like to thank my chair, Dr. Lissa Weinstein, whose support, encouragement and enthusiasm for this project remained steadfast throughout this journey despite the many challenges. Thank you to Dr. Diana Diamond for your thought-provoking comments and interest in the project. Thank you to Dr. Steven Tuber for your generosity throughout—I am grateful not only for your support but also for your wisdom and insights as a teacher and a clinician. Thank you to both Dr. Diana Puñales and Dr. Benjamin Harris for kindly coming on board at such a relatively late stage yet whose total engagement and encouragement were palpable. I would also like to thank the staff at the library of The Whitney Museum of American Art including Ivy Blackman and Monica Crozier who tirelessly gathered and photocopied materials. I am also grateful to Elizabeth Colleary for her generosity in helping me negotiate the Hopper Research Collection and sharing her insights. Thank you also to Gail Levin, whose masterful biography was a true inspiration. On a more personal note, I would like to thank my family—my father and sister for egging me on whenever my confidence wavered, my mother who would have been so proud, and my children, the constant source of my motivation and delight. I would also like to make special mention of my classmates, most especially Lisa, whose friendship I value and with whom great laughter and sometimes tears enriched our experience and bond. Most of all, I wish to thank my husband, Robert, without whom this accomplishment would be but only a dream. His endless patience, limitless hugs and countless hours of listening and proofreading kept me inspired. He is truly my best friend and partner, the love and joy of my life. Thank you forever and always. vii Table of Contents Abstract ....................................................................................................................................................................... iv Acknowledgments .................................................................................................................................................. vi Table of Contents ................................................................................................................................................... vii List of Tables .............................................................................................................................................................. ix List of Figures ............................................................................................................................................................. x Introduction ................................................................................................................................................................ 1 Chapter I: Edward Hopper: Brief Biographical Data .................................................................................. 9 Childhood and Adolescence: Formation of Conflict ........................................................................... 11 Early-Mid Adulthood: Art School, Paris, Romance ............................................................................. 16 Marriage ............................................................................................................................................................... 24 Chapter II: Review of the Literature .............................................................................................................. 37 Repetition and Repetition Compulsion ................................................................................................... 38 Pattern and Form ........................................................................................................................................ 44 Summary ......................................................................................................................................................... 46 Unconscious Fantasy ....................................................................................................................................... 47 Childhood fantasies .................................................................................................................................... 59 Role and Function ....................................................................................................................................... 61 Impact on Artistic Expression ................................................................................................................ 65 Summary ......................................................................................................................................................... 69 Chapter III: Methods ............................................................................................................................................. 71 Data ........................................................................................................................................................................ 71 Plan for Data Analysis ..................................................................................................................................... 73 Aim 1: Establish that the Various Forms of Repetition were Readily
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