Edward Hopper, who first attracted attention to himself by his etchings, will increase his reputation by his show of oils and water colors now current in the Frank K. M. Rehn Galleries. He is a sober artist, not as yet emotional, but is steadily acquiring a technique that soul tempests will not wreck when they finally arrive to him, as I suppose they will.
His best oil is entitled "Eleven A. M." and depicts a young woman, an actress probably, who has just shaken off slumber, but who has not yet sufficiently gained courage to don clothes and sits moodily in a plush chair by a window gazing into one of the narrow airshafts that are altogether too familiar to New Yorkers. She is well-drawn, the room is well-drawn, and in particular the window ledge and other architectural features of the scheme are put in very honestly and made fully. (It is not every contemporary artist who bothers to learn the principles of construction.)
But it is not hard. Mr. Hopper sees for broad balance of tone, and has a sufficiently painterlike touch. He only puts in the detail that is necessary to take away bareness. I think there is no reason why, as time goes on, the artist should not preserve all these good qualities and add a soupcon of drama.
The water colors are excellent, too. In them there is a nearer approach to humor, but water color, of course, invites spontaneity. Mr. Hopper is affectionately amused by the old houses that hang over, in the side streets of certain of our small towns, from the civil war period, and he paints them solidly and makes them into good decoration. The much painted Gloucester, in Massachusetts has provided him with some of the most adorable houses and he manages to see them with an untired eye.
"Edward Hopper Adds To His Reputation," New York Sun (February 19, 1927), Metropolitan Section, page 9.