Edward Hopper’s New York, New Haven and Hartford draws the viewer in to a dappled, if desolate, scene.
Hopper spends a lot of time on train tracks in his compositions, which should (should) lead to a better juxtaposition between “industry” and “pasture.” I mean, I get it, people really want to read into the aesthetic choices artists make. But can’t we just call a spade a spade, and not some grotesque overreaching assumption Hopper cares about the transient nature of the traveler?
No? Fine.
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