Edward Hopper’s “Early Sunday Morning” Through the Lenses of Three Critics Essay

Introduction

Early Sunday Morning, a painting by American artist Edward Hopper, depicts Seventh Avenue in New York. It belongs to movements of American scene painting and social realism. Being one of Hopper’s most iconic works, this painting provides rich material for analysis and criticism (Martin, 2018). Criticism of art is an essential element of arts and humanities, and understanding and comprehension of an art piece is art in itself.

Descriptive Critic

The painting portrays three two-stories high buildings attached to each other in the light of a barely arisen sun, and the colors are bright and vibrant. The first story is filled with shops, and the second is purposed for apartments. At the bottom, one can see the light beige blacktop with a fire hydrant. Above is a strip of pale blue sky. There is no human being or an animal in sight – nothing that would suggest the notion of movement.

Interpretive Critic

Despite belonging to the realms of realism, Early Sunday Morning provides an experience that transcends reality. Freud’s unraveling of the mind significantly influenced Hopper’s perception of art and its intent (Motoc, 2021). The picture, devoid of living beings or any kind of movement, creates a sense of acute loneliness, which in contrast with the brightness and intensity of colors, makes for an unsettling image.

Evaluative Critic

This work succeeds in its intent of depicting a scene that is both unsettling and ordinary. While being labeled by the artist as Seventh Avenue in New York, the painting itself does not have a street name on it, making it the ultimate commonplace. On the other hand, the lifelessness and listlessness of the picture add a notion of distress to this seemingly ordinary space.

Conclusion

In conclusion, Early Sunday Morning by Edward Hopper is a painting that depicts ordinary settings in a disconcerting light. The colors of the image are bright and strong, but ultimately it projects loneliness and melancholy onto the viewer. The intent of painting such a picture could be traced to Edward Hopper’s fascination with Freud’s ideas of human mind phycology, including things that unsettle one’s psyche.

References

Martin, F. D. (2018). Humanities through the Arts. [VitalSource Bookshelf]. Web.

Motoc, M. (2021). Liminal Figures and Infinities: Edward Hopper as Magic Realism. International Journal, 9(1), 13–30.