International Journal of Art and Art History

Liminal Figures and Infinities: Edward Hopper as Magic Realism
Michael Motoc

Abstract
While numerous art historians characterized Edward Hopper‘s art as a prime example of American realism with readily identifiable empty spaces and lonely figures, these characterizations are often qualified by an acknowledgement that Hopper‘s art has strange, often unsettling undertones which are not easily explained through the lens of realism nor have clear comparison in American art. This paper aims to argue that Edward Hopper is more accurately characterized as a magic realist, both artistically and philosophically, noting in particular Hopper‘s interest in certain aspects of film, surrealism, and existential philosophy. The paper points towards Hopper‘s use of liminality and (seemingly) infinite spaces and constructions as non-naturalistic elements that are more easily characterized as magic realist in nature and which help to explain the unsettling effects found in Hopper‘s work. Finally, the paper briefly explores additional readings of Hopper‘s work that may be fruitful in future scholarship, particularly in answering the so-called -Hopper Paradox?, coined by Winfried Fluck, and the stoic nature of Hopper‘s figures.

Full Text: PDF       DOI: 10.15640/ijaah.v9n1a2