thumbnail of Invitation to Art; 32; Conversation with Edward Hopper
Transcript
Hide -
This transcript was received from a third party and/or generated by a computer. Its accuracy has not been verified. If this transcript has significant errors that should be corrected, let us know, so we can add it to FIX IT+.
it's been playing and cities the internet just as into that environment now out of mr edward hopper represents a major congress to militancy especially the town's city but just in his art america astray not to change a whole and they have experienced france's most merchant mr edward hopper has done there was a strictly on his tenacity of a lifetime pictures such as this would achieve a tremendous impact this one's called early sunday morning it's done in nineteen thirty that i look at it it's laden with meaning and its disability has to weigh the simplest facts with meaning
that mixes up right there's a quality of stillness that keeps us watching as if they were anticipating its introduction in the street with its timing when is on prose is empty except that janice and it's only two inhabitants the borrowers owe the hydrants that are looking at now as a dallas pro and again they threw intense concentration in isolation they'll rest of it and invite us to say that sense of meaning that they get us with speculation and the same thing happens when there's there at first sight not in a different from each other than one notices the most inventive fetish and the windows summer and met with blinds others are planted and some affordable the game invites speculation which leads one off and many associations but to follow that destroys
the essence of the picture now obviously wanted but notice something that amended the state and visually another way soprano to that makes edward hopper one of the cellist of american painters and yet again the same casual unpopular that in which the shapes of the prosaic how isolated accented and tense and then the longhorns on pause this time so names as converging movement to the left to catch the end of a plane disappearing behind them well the stop this because often bring one's thoughts into very upset that outside the immediate frame of reference of his work is when a sense of isolation investments and also behind it's a media center today is i think a sense of the
trends apps that's more obvious in this picture and in the nineteen nineties director has been said about the isolation of the people in his pictures over the people he introduces into is because that dan same oppressed by that momentous they're anonymous types of humanity for the most part not outstanding characteristics that seems to be a certain heedlessness submission it's not there are most important in this picture it's the steady flow of brightness of them on the night of world to write the times this and tune into our the mood is in the night rather than the people and it's also in the hypnotic and g streets without prompting for slaw like that creating with red headed and exactitude a palpable mood and tried to define the skates you it's very much that mr edward hopper knows
that just for new york's cinnamon was done in nineteen thirty nine other vets like typos or not that important for the essential quality of work hasn't churn is a man to hold that quality as time goes on marathon and the magnificence of the cinemas never been there specifically expressed and he'd been bored indifference of the usher at rivals departures from the planet to write that underlines the section for a few minutes a permanent evening these are things that just harvested a conscious of and as one of his earliest classics by the railroad railroads in the foreground we see it again this is the sense of passage of transience literally hit underlining but the fact of the house's incident an immense this solemn perception like something that just
from a train in boston now the stricken on understanding of what it spends is immense evidence to even the slightest gesture in his pictures the gesture maybe even a patch of sunlight a curtain stuck to a window by the wind now this as we looked at a dozen food with the deepest meaning for us in a way that strikes one as being so translucent is symbolically keep searching for complexity and in such a candidate doesn't many on the phone such latin gathering intensity represents in each picture the result was double tells me of an intense creative struggle does that just come stand in the kumm was difficult and neither from perhaps the most subtle and invisible into penetration of famine content in another competitive ratings this as sort of the associations because provoking leaves
them open by stating them as many critics have something marvelous individual in his paintings destroying now edward hopper had a long struggle for recognition before that historic exhibition his watercolors in the rent and we're in nineteen thirty four it develops slowly but for the direct and then inspect now there's no doubt that that today is recognized as one of america's mr paulson had not like very much to meet you the referendum as well television in many
ways the breaking them and his service and james and dionne sunday at the us and he was with you neglected to mention the temperatures than that it's known that they do something about that and you finally come out it's a very precious just mentioned his emotion that's not a command that there's enough violent great manet that's a new one isn't about him a long time before you actually can i do them
a man's smashed judges sketches of the things that i wish to do classes judges the chances of that i made in the picture and that's outcomes about invention service a result of many impressions strewn sand so strictly speaking many of the pictures are not scenes actually seen sector but there was a time and i worked directly from i cut the fat know some kind of nature you know certain nights providers didn't address the naacp this week what about the content of the pictures i think that some people have
seen a lot of psychological elements and loneliness isolation modern man in his man made environments ideas about that and that's true well i think that's there's an origin crates and the i can't have great credit said no the editor and then at the church of the violence and the pictures but this isn't the tale of that they let us into the content of your pictures that's an interesting point in the next year furniture in the picture that's become so very much for your furniture as it was nearly empty streets the front of the palace the dark ones that absent mysteriously and right and the
others of that tracks and those because i have a particular landscape to trick major an instrument to enlighten well i suppose it's just me i would like to sayer and i said that to an important element in the picture cannot be defined can't be explained i don't know introducing the sudden no interest in the discussion at one hundred and you know they are on the negative sentiment interest in junior reid illustrated a number of the stories that education really in the festival in an effort to make
some money i didn't know really had no interest and i've tried to force myself to have an interest in the prison very early and number one sentiments you read a story by ernest hemingway you said that like to illustrate that that's right service members <unk> set land hemming and that and made a great discovery and of course they had discovered a long ago what other writers of interest in july think a commuter works something like the advisor richard anderson it certain senators continent of those perhaps as a revolution in western finance an amateur singer of nonfiction in south ossetia
mm hmm the current tension many people find this loneliness isolation we mentioned and that is he says you're feeling that doesn't do you feel is the real content of your pictures that interested in and then i can answer that question i'm at ninety nine us an interesting line and cyanide in particular and i think that that magnificent ninety seconds the county detention center brandon richards learned pain has dropped and the
havoc a painting sunlight is yellow and sunlight doesn't really yellow except perhaps in the day and late in the day us and it hasn't quite crowded summer this many of her paintings of them not just at that moment or things at a certain percentage living definition and christmas about nine minutes and then again have the same atmosphere that you get from this darkness of song sunset diminishing of like very much in the interest of the imagine the final days of midday sun like this are made several pictures of that character this one called high noon which is perhaps blank successes son like that it represents that time of day at noon
that picture is only somewhere in the us government has gotten that a private collector imagine kind of a good seventy nine i'm going to get a component that was a movie that was made and i mention movies because i know that you match the much of an interest in this area and i think to see and observe and i added just a very much in for much of germany for instance i can tell that i dislike sonoma mountain this mountain lights i mentioned to the swedish filmmaker bergman in lebanon and in addition to the characters work as your first assignment the
world's attention and nutrition less than say breathless and it's in the answer and fun these paintings again and then we just took that influences as a person who feel means a lot to you as hank jones and then swims drop well i don't think i really have any direct influences of grassland that some of britain's most planners admire rembrandt then their corn day this landscape strengthen years and most of the great french paintings and what about the americans i mean you have been innocent directly in the american tradition going to have recruited rights to continue his tradition that goes back to one but two cup
i suppose that is true and there the concern that i think is that there's not that reputation as yet actually absent the jeremiah carpenter in his american commanders and what about the moment we've mentioned a concern that there's a certain lack of rhetoric an ugly gesture do is this something you object to artificial and it came out in december curse at it and so resonant than those that's not good as investigations showed an american band and that's been a lot in the us and
that serve the same direction and visitors this was certainly the complex won richly the artificiality evidence of absence announcements organic and unswerving juxtaposed with a great deal and utterly something about the impression pass then what it meant to work thank you that has set a tone that is harriet was just about dying out but didn't captain and so much influenced by it because the absence of this are saying that i should know so the things that i did in paris does
nefarious things and decided to tell a lot if i'd had this method but later i got a letter carrier things and there's are the kind of thing the region is interested in as many as eighty and as the atlantic and then i guess as an investment and that the americans were theirs and i don't think on that point well when you came back to america from paris must've been very difficult for you to try and come to terms with a whole new continent and gentlemen there's been turned into at least not as you saw it as the simpsons he answered most americans in the first term the narrative sense than a grown up
and so but i think the tension is very close to announcing us know what you think of the business means jewels general questions you might say something about this rotation is literature of the road complaining about the many contemporary painters wrote protest and shown the great discontent with his quotation in song and really get at the klan the beginning and the end of our literary activity it's a reproduction of the world that surrounds me by means of
the world that is and they all things being grass related richman and then reconstructed to me that supplies to pay a fundamentally and i know there have been another have been some money different opinions on things protest the business and i think that anyone who knows as i'm here in the position of an incumbent and husband matt that was all been inseparable and i think that we should remember that alaska to join isis and there's a painting of the
opposition to this home in their car which she sees the accidents of immediate environment again and again with affection and strength but i am as a picture that mr hopper painted and this has happened many years ago has risen to an intense and affection and they're talking about their picture <unk> you know you sort of have been thinking about that picture because says this is the hardest question played on things in his pictures play down the emotion that's an affectionate picture that money into the eu yes be good to make sense summed up and learn and asked a huge fan of the endowments
robert and that engine listen to have given that is a great passion i mean he didn't save here with a job of a thug for that without a breath you could think to do that very thing that is a fundamental right that was it as genocide what do you do
from players about that so the grand tour would rather little things and big and remember that billy is remember news in many ways an american physician and as an american nation i just do to learn and affectionate remembrance of
men such as bp and the banners read many others come to know nothing that says another pressing him press one associate with you that comes to mind to that is there are of a faith that they've been very good to me so there's been a lot of interest tissue is functioning when you're an artist doesn't have a stop to this is then the notions about it now until now
the year is there's over a nato planes death of christ the bodies of christ and it does seem to be that way of course the plaintiffs they ended up at the time of their life and a fire that he doesn't have the crucifixion decide
ok if not for that and just before they finish that sentence and do things that are satisfied with the position of thousands tens of the man is that not in that moment it's a real sense of the message to the famous citizens and whether that describes a lot of latin america <unk> i think of him it is
it's b it's been thank you this is an anti national educational television fb
Series
Invitation to Art
Episode Number
32
Episode
Conversation with Edward Hopper
Producing Organization
WGBH Educational Foundation
Contributing Organization
Thirteen WNET (New York, New York)
Library of Congress (Washington, District of Columbia)
AAPB ID
cpb-aacip/75-33dz0chz
NOLA Code
IART
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/75-33dz0chz).
Description
Episode Description
Dr. O'Doherty's guest is Edward Hopper, often regarded as the "most American" of American artists. Mr. Hopper explains why he is vigorously in the tradition of American painters John Singleton Copley, Winslow Homer, and Thomas Eakins. Though he believes little in the value of words where art is concerned, Mr. Hopper's laconic, often humorous comments cast a sudden illumination on his lonely and genuine art. (Description adapted from documents in the NET Microfiche)
Series Description
This series explores man and the world around him through the eyes of artists, past and present, and aims to develop an understanding of art as a direct expression of universal emotions. As the host, Dr. Brian O'Doherty, young Irish poet, painter, and art critic, brings a fresh, witty and warmly human point of view to the visual arts. In the first season (episodes 1 - 15), O'Doherty follows, through these arts, the cycle of man from childhood to old age and explores the society in which man lives in all its aspects - tragic, comic, and mundane. Dr. O'Doherty uses works of art now on display in the galleries of the Museum of Fine Arts, Boston, MA, to illustrate the episodes. Patricia Barnard of the Boston Museum of Fine Arts supervises production. Her assistant is Thalia Kennedy of the Museum staff. In the second season (episodes 16 - 30), each episode either examines in detail the work and thought of one of the great artists of the past, or consists of skillful and sympathetic interviews by Dr. O'Doherty of distinguished living artists who have had a powerful influence upon the art of today. In the third season (episode 31 - 34), Dr. O'Doherty interviews a distinguished American artist who have had a powerful influence upon the art of today. In the fourth season (episodes 35 - 41), a pattern of ideas evolves, revealing the various roles of the artist. This series was originally record in black and white on kinescope. (Description adapted from documents in the NET Microfiche)
Description
Edward Hopper, American painter, talks with Brian O'Doherty, art critic and painter.
Broadcast Date
1964-00-00
Asset type
Episode
Genres
Talk Show
Topics
Fine Arts
Media type
Moving Image
Duration
00:29:21
Embed Code
Copy and paste this HTML to include AAPB content on your blog or webpage.
Credits
Guest: Hopper, Edward
Host: O'Doherty, Brian
Producing Organization: WGBH Educational Foundation
AAPB Contributor Holdings
Thirteen - New York Public Media (WNET)
Identifier: wnet_aacip_144 (WNET Archive)
Format: Betacam: SP
Generation: Master
Library of Congress
Identifier: 1877186-2 (MAVIS Item ID)
Format: 1 inch videotape: SMPTE Type C
Generation: Master
Color: B&W
Duration: 0:29:00
Library of Congress
Identifier: 1877186-3 (MAVIS Item ID)
Format: 2 inch videotape: Quad
Generation: Master
Color: B&W
Duration: 0:29:00
Library of Congress
Identifier: 1877186-1 (MAVIS Item ID)
Format: U-matic
Generation: Copy: Access
Color: B&W
Duration: 0:29:00
Library of Congress
Identifier: 1877186-5 (MAVIS Item ID)
Generation: Copy: Access
Color: Color
Library of Congress
Identifier: 1877186-6 (MAVIS Item ID)
Generation: Copy: Access
Color: Color
Library of Congress
Identifier: 1877186-4 (MAVIS Item ID)
Generation: Master
Color: Color
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “Invitation to Art; 32; Conversation with Edward Hopper,” 1964-00-00, Thirteen WNET, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed February 23, 2025, http://americanarchive.org/catalog/cpb-aacip-75-33dz0chz.
MLA: “Invitation to Art; 32; Conversation with Edward Hopper.” 1964-00-00. Thirteen WNET, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. February 23, 2025. <http://americanarchive.org/catalog/cpb-aacip-75-33dz0chz>.
APA: Invitation to Art; 32; Conversation with Edward Hopper. Boston, MA: Thirteen WNET, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-75-33dz0chz