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negative/un-detailed space in the background further add to this because the eye simply passes over them and focuses more on the details presented. These spaces are simple because they are the background features that were not committed to memory. There is "weight" held in the presence of details contained between the figures at the tables all the way to the details in the design of the sign outside, the hanging jacket and the lower window covering. This gives the effect of the viewer seeing the scene and all the important aspects, ignoring the exterior context. This is described in an article by
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136:." Others have pointed out it would not be so unusual for two women to be wearing similar hats, and that it is presumptuous to claim doppelgängers when one subject's face is not visible to the viewer. The painting has an interior subject matter, being inside of a cafe, and does not focus on any one given figure. As with many of Hopper's works, the painting features close attention to the effects of light on his subjects.
170:, the location of Chop Suey is described as " the inexpensive, second floor Chinese restaurant the Hoppers had been frequenting in Columbus Circle". This might explain the primary focus on the woman and the dullness of the surroundings. If it was a place Edward Hopper had frequently visited then there would be no reason to concentrate on the surroundings, but rather the moment of the scene. His wife and frequent model
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a previous era would have marked them as sexually available, had become mainstream". But Hopper negates that by making the woman’s face the same value of white as other blank features in the background, thus hollowing-out her human essence. The viewer interprets her to be "spacing out" or listening un-intently rather than making eye contact and interacting with the viewer, as if she is not focused on her surroundings.
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masked lower window panel, and the restaurant sign outside. These are all features that would bring a sensory element (besides sight) to the memory painted: the buzzing noise of the outside light, the voices of the people in the background, the texture of the coat, the taste of the tea and smell of the cigarette smoke (held by the man), and the muddled light from the masked window.
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further be described in another way as when, for example, something is drawn from a personal memory, certain details can be remembered but everything outside the primary focus is blank background. Chop Suey captures this concept of memory, making the viewer focus on particular elements of sensory iconography whilst depicting a theme of isolation due to self being.
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the woman he sits across from. Every human figure is isolated and withdrawn from one another and reserved within themselves. This is portrayed with hidden or obscured faces, retracting a human essence from the figures. This further applies to the woman in detail; even though we get a full view of her face there is a detachment to her because of her stark makeup.
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The alabaster skin with the bold rouge and painted lip suggest only the impression of a woman, similar to a doll. Normally in context with the style of the era (late 1920s), this could be taken as a trendy and lively style, "the women's tight-fitting sweaters, cloche hats, and made-up faces, which in
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The scene depicts two women at a table in a restaurant with another couple in the background. The only features being shown in particular detail are the painted woman’s face, the coat hanging above her, her companion’s back , the features of the couple in the background, the tea pot on the table, the
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Edward Hopper’s artwork is known for its realistic scenes that touch themes of isolation and self-being rather than a narrative context. He often described his art as a "transcription most intimate impressions of nature", meaning he related the process of painting to that of memory. This idea could
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Although the scene of the painting takes place in a social environment there is the sense of loneliness prevalent. The woman in green facing the viewer is sitting with her companion but she does not seem to be interacting with her. As with the couple in the background, the man looks withdrawn from
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The composition of Chop Suey further encompasses Hopper’s concept memory as opposed to complete realism. The balance is held across the middle section of the painting with there being more un-detailed areas just above the eye line of sight, these areas are marked with rougher brush marks. The
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163:: "The brief interruption in action, the mask-like face of the protagonist, and the abstract geometries in the windows contribute to the sense that the unfolding narrative is not about these specific actions or this place, but rather about a modern state of being".
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By detailing only the sensory iconography, the painting takes a step back from pure realism, as if by painting the complete memory one would destroy the fine details that make it actively realistic. Rolf G. Renner, author of
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states that "…part of what pictures are 'about' is that death or decay which all paintings in some sense represent, since they destroy the immediacy of perception through the transformation into an image".
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103:. The foreground of the work portrays two women in conversation at a restaurant. In November 2018, it was sold at $ 92 million, a record price for the artist's work.
189:. However, at his death, ownership transferred to his estate. In November of 2018, the painting sold for $ 92 million, a new record for a work by the artist.
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With this in mind the viewer can assume the narrative behind this particular memory. In a bibliography by
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408:"The Controversy Behind the $ 92 Million Sale of an Edward Hopper Painting"
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540:. 1959 June 17. Archives of American Art, Smithsonian Institution.
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434:"Hopper Painting Sells for Record $ 91.9 Million at Christie's"
250:"Hopper Painting Sells for Record $ 91.9 Million at Christie's"
383:. Vol. 136, no. 2752. January 2008. pp. 34–46.
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Troyen, Carol (Spring 2016), "It was never about the food",
99:(1929) is an oil painting on canvas by the American artist
324:"Hopper: The Supreme American Realist of the 20th-Century"
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Wagstaff, Sheena; Anfam, David; O'Doherty, Brian (2004).
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81.3 cm (32.0 in) Ă— 96.5 cm (38.0 in)
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494:Updike, John (2005). "Hopper's Polluted Silence".
274:"Hopper's Chop Suey in record-breaking $ 92m sale"
174:most likely modeled for the three female figures.
185:owned the painting and had promised it to the
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837:Edward Hopper Birthplace and Boyhood Home
538:Oral history interview with Edward Hopper
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627:Coast Guard Station, Two Lights, Maine
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498:Still looking: essays on American art
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132:is that its female subject faces her
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478:Edward Hopper: An Intimate Biography
406:Frost, Natasha (November 14, 2018).
310:Wagstaff, Anfam & O'Doherty 2004
432:Scott Reyburn (November 13, 2018).
379:"Edward Hopper Master of Silence".
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480:. University of California Press.
230:List of most expensive paintings
547:at The Art Institute in Chicago
225:List of works by Edward Hopper
16:1929 painting by Edward Hopper
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215:and other Hopper paintings.
201:played on the cable channel
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880:Paintings by Edward Hopper
322:Berman, Avis (July 2007),
128:, one "striking detail of
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124:According to art scholar
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885:Food and drink paintings
675:East Wind Over Weehawken
485:Renner, Rolf G. (2002).
890:Oil on canvas paintings
463:Hopper, Edward (1933),
779:Office in a Small City
611:Girl at Sewing Machine
208:The Sunny Side of Life
795:Second Story Sunlight
691:White River at Sharon
643:Manhattan Bridge Loop
619:House by the Railroad
203:Turner Classic Movies
811:Sun in an Empty Room
659:Early Sunday Morning
476:Levin, Gail (1995).
328:Smithsonian Magazine
771:Hotel by a Railroad
683:Macomb's Dam Bridge
438:The New York Times
381:USA Today Magazine
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183:Barney A. Ebsworth
160:USA Today Magazine
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441:. Retrieved
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739:Hotel Lobby
367:Updike 2005
340:Renner 2002
298:Hopper 1933
193:Recreations
126:David Anfam
869:Categories
731:Nighthawks
489:. Taschen.
456:References
394:Levin 1995
168:Gail Levin
74:Dimensions
755:High Noon
651:Chop Suey
598:Paintings
554:Chop Suey
545:Chop Suey
213:Chop Suey
205:, titled
172:Jo Hopper
130:Chop Suey
96:Chop Suey
68:oil paint
24:Chop Suey
502:. Knopf.
354:Antiques
278:BBC News
219:See also
846:Related
830:Museums
635:Automat
107:Subject
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