American Acrostics: Edward Hopper

Hopper_Sunday

Edward Hopper, Sunday, 1926. Oil on canvas, 29 x 34 in. The Phillips Collection, Washington, DC. Acquired 1926

To celebrate the last month of Made in the USA, we’ve asked Phillips staff to create acrostic poems for works in the exhibition. We’ll feature some of our favorite submissions over the next few weeks.

Edward Hopper, Sunday

U really need to leave me alone.
Seriously, stop looking at me.
Alright, fine. You can take my pic.

 

Margaret Collerd, Manager of Digital & In-gallery Interpretation

Hopper’s Birthday: Thoughts on Approaching a City

(Left) Edward Hopper, Sunday, 1926, Oil on canvas 29 x 34 in.; 73.66 x 86.36 cm. Acquired 1926. Paintings, 0925, American. The Phillips Collection, Washington DC. (Right) Edward Hopper, Approaching a City, 1946, conte on paper, 15 1/16 c 22 1/8 in., Collection of Whitney Museum of American Art, New York; Bequest of Josephene N. Hopper, 70.869.

(Left) Edward Hopper, Sunday, 1926, Oil on canvas 29 x 34 in.; 73.66 x 86.36 cm. Acquired 1926. Paintings, 0925, American. The Phillips Collection, Washington DC. (Right) Edward Hopper, Approaching a City, 1946, conte on paper, 15 1/16 c 22 1/8 in., Collection of Whitney Museum of American Art, New York; Bequest of Josephene N. Hopper, 70.869.

To learn more about this painting on the anniversary of Edward Hopper’s birth, below is an oral history transcript from the Archives of American Art in which Hopper was asked about what gives this work its intense feeling. See the painting on view in the Made in the USA show through August 31.

JOHN MORSE: Mr. Hopper, I’d like to ask you about one particular picture that made a great impression on me when I first saw it at the Whitney exhibition, and still does, although now it’s in the Duncan Phillips Collection in Washington. That’s Approaching a City, and I’m quite sure, or how I could put it into words, the particular appeal of this picture—maybe it’s impossible—but I would like to hear what you have to say about it.

EDWARD HOPPER: Well, I’ve always been interested in approaching a big city in a train, and I can’t exactly describe the sensations, but they’re entirely human and perhaps have nothing to do with aesthetics. There is a certain fear and anxiety and a great visual interest in the things that one sees coming into a great city. I think that’s about all I can say about it.

JOHN MORSE: Well, in painting this picture were you aware of these wonderful solid geometric forms that took my eye at once?

EDWARD HOPPER: Well, I suppose I was. I tried for those things more or less unintentionally.

JOHN MORSE: Would you go so far as to say it’s almost a subconscious result, effect?

EDWARD HOPPER: Yes, I think so.

JOHN MORSE: But what was in your mind when you were painting it, I gather then, was this feeling of approaching a city?

EDWARD HOPPER: Yes.

JOHN MORSE: Thank you.

From: Oral history interview with Edward Hopper, 1959 June 17, Archives of American Art, Smithsonian Institution. http://www.aaa.si.edu/collections/interviews/oral-history-interview-edward-hopper-11844

 

The Artist Sees Differently: Darci Vanderhoff

Darci Vanderhoff, Chief Information Officer, on the mic

Darci Vanderhoff, Chief Information Officer, on the mic! Photo: Joshua Navarro

DARCI VANDERHOFF, Chief Information Officer

How did you learn about the Phillips?

I originally came to Phillips exhibitions as an art enthusiast. One of my favorite shows was Impressionists in Winter in 1998. I didn’t even mind the long lines (once I got inside). Several years later, I came to sell the Phillips on the idea of online ticketing. Then, in 2001, I applied for the IT Director position when it became available at the museum.

You formerly worked as a writer, you’re a musician in a band. Do you feel you are inspired by the Phillips art? 

I worked at the editorial desk of the Washington office of the Wall Street Journal for a number of years, and then left to freelance in both writing and photography. I was published locally as well as in Dallas, Detroit, and other cities. I did research for Judy Woodruff’s book This is Judy Woodruff at the White HouseRadcliffe College’s Arthur Schlesinger Library (a women’s archive) holds a collection of my articles and photographs. I eventually became a music critic, and at the suggestion of musician friends, I decided to attend music school myself. It was a radical idea to me, so I took to it immediately. After getting my feet wet in a local music school for a year, I enrolled at Berklee College of Music in the mid-1980s with a scholarship.

I am a musician. I primarily sing but also write. My degree is in songwriting. I am one of thirteen in the local band Cleve Francis and Friends. We routinely play at The Birchmere in Alexandra, Virginia, and at local benefits. We released a CD, Storytime: Live at the Birchmere, in 2009. In addition to singing, I am the “administrator” of the group: setting rehearsal schedules, digitally recording rehearsals, distributing recordings, managing databases, etc., which is where my digital skill-set comes in handy. I am the only woman in the group. Go figure. I recently joined a smaller group doing more instrumental music across a wide spectrum of genres. Instrumentation includes keyboards, guitar, upright bass, and vocals (three of us sing). I’m having fun doing lead vocals again.

Yes, I am inspired by the art at the Phillips, and even more by the artists who work here. Most of my coworkers are brilliantly creative people.

Do you listen to anything as you do your artwork?

My “artwork” is primarily music. I listen to a lot of music during my work commute, but I also use that time to prep for shows. The rehearsing could be considered a driving distraction, I guess, but it’s been a part of my commute for some time, so I think I balance the two well. Don’t tell anyone.

Who’s your favorite artist in the collection?

I am very fond of Claude Monet, Georgia O’Keeffe, Edward Hopper, Jacob Lawrence, Paul Dougherty, Childe Hassam, Gustave Courbet, and our growing photography collections.                   

Do you collect other artwork – or anything?

I collect a few things:  I have a striped beach rock collection, mostly from Plum Island in Massachusetts where I strolled often while going to school. I have a Washington Nationals bobble-head collection that is in need of attention. I also collect art. One of my favorite acquisitions was purchased from one of the Phillips museum assistants in a staff show: a colorful photograph of multiple faucet handles from an abandoned steel mill in Pittsburgh. Clearly, I trend toward water themes.

 And do you have a favorite Marjorie Phillips painting?

I like Nuns on the Roof, too.

Hear Darci’s song, “Every Little Bit”