institution with which he’d had the closest ties. After his death, she donated both his and the majority of her own artistic estates to the museum, even though she’d felt from the moment of her marriage that she’d been the victim of a boycott by the curators there. Her disquiet was not unwarranted. After her death, the Whitney discarded all her paintings, perhaps because of their calibre and perhaps because of the systematic undervaluing of women’s art against which she’d railed so bitterly in her own life.
The silence of Hopper’s paintings becomes more toxic after the revelation of how violently he worked to suppress and check his wife. It isn’t easy to square the revelation of pettiness and savagery with the image of the suited man in polished shoes, his stately reticence, his immense reserve. Perhaps his own silence was part of it, though: some inability to communicate in ordinary language, some deep resentment around intimacy and need. ‘Any talk with me sends his eyes to the clock,’ Jo wrote in her diary in 1946. ‘It’s like taking the attention of an expensive specialist’ – behaviour that compounded her feeling of being ‘a rather lonely creature’, cut off and excluded from the artistic world.
Just before the Hoppers got together, a fellow artist jotted down a pen-portrait of Edward. He started with the visual elements: the prominent masticating muscles, the strong teeth and big, unsensuous mouth, before moving on to the cool static way he painted: blocking things out, retaining control. He noted Hopper’s sincerity, his vast inhibitions and his wit, writing: ‘Should be married. But can’t imagine to what kind of a woman. The hunger of that man.’ A few lines on he repeated the phrase: ‘But the hunger of him, the hunger of him!’
Hunger is also what’s communicated in Hopper’s cartoons, in which he abases himself before his primly elevated wife, a starving man, crouching on the floor while she eats at the table or kneeling in pious self-abnegation at the foot of her bed. And it flickers on and off in his paintings too, in the vast space he makes between men and women who share the same small rooms. Room in New York, say, which ripples with unexpressed frustration, unmet desire, violent restraint. Perhaps this is why his images are so resistant to entry, and so radiant with feeling. If the statement I declare myself in my paintings is to be taken at face value, then what is being declared is barriers and boundaries, wanted things at a distance and unwanted things too close: an erotics of insufficient intimacy, which is of course a synonym for loneliness itself.
*
For a long time, the paintings came steadily enough, but by the mid-1930s the periods between them had started to lengthen. Until very late in life, Hopper always needed something real to spark his imagination, wandering the city until he saw a scene or space that gripped him, and then letting it settle in his memory; painting, or so he hoped, both the feeling and the thing, ‘the most exact transcription possible of my most intimate impressions of nature’. Now he began to complain about a lack of subjects that excited him enough to bother beginning the labour, the tricky business of trying ‘to force this unwilling medium of paint and canvas’ into a record of emotion, a process he characterised in a famous essay titled ‘Notes on Painting’ as a struggle against inevitable decay.
I find in working always the disturbing intrusion of elements not a part of my most interested vision, and the inevitable obliteration and replacement of this vision by the work itself as it proceeds. The struggle to prevent this decay is, I think, the common lot of all painters to whom the invention of arbitrary forms has lesser interest.
While this process meant painting could never be entirely pleasurable, the periods of blockage were far worse. Black moods, long disappointing walks, frequent trips to the cinema, a retreat into wordlessness, plunging downward into a shaft of silence, which led almost inevitably to fights with Jo, who needed to speak as badly as her husband required quiet.
All of these things were at work in the winter of 1941, the period from out of which Nighthawks emerged. Hopper had achieved considerable acclaim by then, including the rare honour of a retrospective at the Museum of Modern Art. Ever the New England puritan, he hadn’t let the increase in prestige go to his head. While he and Jo had moved from the cramped back studio at Washington Square to two rooms at the front, they still didn’t have central heating or a private bathroom; still had to haul coal up seventy-four steps for the woodburner that kept the place from freezing.
On 7 November they returned from a summer in Truro, where they had recently built a beach house. A canvas was put on the easel, but for weeks it stayed untouched, a painful blankness in the small flat. Hopper went out on his usual outings, trolling for scenes. At last, something came into focus. He started making drawings in coffee shops and on street corners, sketching patrons that caught his eye. He drew a coffee pot and jotted colours next to it: amber and dark brown. On 7 December, either just before or just after this process started, Pearl Harbor was attacked. The next morning, America entered the Second World War.
In a letter Jo wrote to Edward’s sister on 17 December, worries about bombing are interspersed with complaints about her husband, who is finally at work on a new painting. He’s banned her from entering the studio, meaning she’s effectively imprisoned in half their tiny domain. Hitler has said he intends to destroy New York. They live, she reminds Marion, right under glass skylights, a leaking roof. They don’t have blackout shades. Ed, she writes crossly, can’t be bothered. A few lines down: ‘I haven’t gone thru even for things I want in the kitchen.’ She packs a knapsack with a chequebook, towels, soap, clothes and keys, ‘in case we ran to race out doors in our nighties’. Her husband, she adds, jeers when he sees what she has done. There’s nothing new about his slighting tone, nor her habit of passing it on.
In the studio next door, Edward gets a mirror and draws himself, slouching at the counter, establishing the pose for both his male customers. Over the next few weeks he furnishes the café with coffee pots and cherry countertops, the dim reflections in their shined and lacquered surfaces. The painting has started to quicken. He’s busy with it, Jo tells Marion a month later, interested all the time. Eventually he allows her into the studio to pose. This time he elongates her, reddening her lips and hair. The light strikes her face, bowed to consider the object in her right hand. He finally finishes on 21 January 1942. Collaborating, as they often do, on titles, the Hoppers call it Nighthawks, after the beaked profile of the woman’s saturnine companion.
There’s so much going on in this story, so many potential readings, some personal and some far larger in scope and scale. The glass, the leaking light, look different after reading Jo’s letter, her agitation over bombs and blackouts. You could read the painting now as a parable about American isolationism, finding in the diner’s fragile refuge a submerged anxiety about the nation’s abrupt lurch into conflict, the imperilling of a way of life.
Then there’s a more intimate interpretation to be made, about the ongoing struggle with Jo, the need to keep her punishingly distant and then to bring her close, to change her face and body into the sexual, self-contained woman at the counter, lost in thought. Is this Hopper’s way of silencing his wife, locking her into the speechless medium of paint, or is it an erotic act, a mode of fertile collaboration? The practice of using her as a model for so many different women invites such questioning, but to settle on a single answer is to miss the point of how emphatically Hopper resists closure, creating with his ambiguous scenes a testament instead to human isolation, to the essential unknowability of others – something, one must remember, that he achieved in part by ruthlessly refusing his wife the right to her own acts of artistic expression.
In the late 1950s, the curator and art historian Katherine Kuh interviewed Hopper for a book called The Artist’s Voice. In the course of their conversation, she asked him which of his paintings he liked the best. He named three, one of which was Nighthawks, which he said ‘seems to be the way I think of a night street’. ‘Lonely and empty?’ she asks, and he replies: ‘I didn’t see it as particularly lonely. I simplified the scene a great deal and made the restaurant bigger. Unconsciously, probably, I was painting the loneliness
