Edward Hopper (i)
Walker Art Center (United States) (i), Walker Art Center (United States) (i)
The painting depicts an office, occupied by an attractive young woman in a short-sleeved blue dress, who is standing at an open file cabinet, and a slightly older man who is perhaps in early middle age. He is dressed in a three-piece suit and is seated behind a desk. The nature of the office is unclear—it could just as easily be the office of a lawyer, an accountant, or of a small business.
The high angle from which the viewer looks down on the office implies that the viewer may be looking in from a passing elevated train—indeed, Hopper later informed Norman A. Geske, the curator of the Walker Art Center, which acquired the painting in 1948, that the idea for the painting was "probably first suggested by many rides on the 'L' train in New York City after dark glimpses of office interiors that were so fleeting as to leave fresh and vivid impressions on my mind." So this is not a prestige office—a fact that is reinforced by the awkward lozenge shape of the room, and by the small size of the man’s desk. A yet smaller desk, holding a typewriter, may belong to the woman. This implies that she may be his secretary.
Still, this is a corner office, which indicates that within their small organization, this is the most prestigious available space and therefore that the man is, perhaps, the manager or boss.
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- Oil Painting (Inspired By)
- OilPainting [{A-8YDK6V}] (Inspired By)
- PROMOTION(HVTHR15)
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- FRAME(W398PJ)
- Linen
- Dim(38 x 32.6 inch (96.5 x 82.8 cm))
- Office at Night
- Discount of -56 USD on the painting
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- Total:730 USD
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Edward Hopper
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Artworks in museum
- Amon Carter Museum Of American Art (Fort Worth, United States)
- Art Institute Of Chicago (Chicago, United States)
- Brooklyn Museum (Brooklyn, United States)
- Carnegie Museum Of Art (United States)
- Columbus Museum Of Art (United States)
- Crystal Bridges Museum Of American Art (Bentonville, United States)
- Dallas Museum Of Art (Dallas, United States)
- Delaware Art Museum (United States)
- Herbert F. Johnson Museum Of Art (Ithaca, United States)
- Hirshhorn Museum And Sculpture Garden (Washington, United States)
- Indianapolis Museum Of Art (Indiana, United States)
- Metropolitan Museum Of Art (New York, United States)
- Montgomery Museum Of Fine Arts (United States)
- Museum Of Fine Arts (Boston, United States)
- Museum Of Modern Art (New York, United States)
- Muskegon Museum Of Art (United States)
- National Gallery Of Art (Washington, United States)
- National Portrait Gallery (London, United Kingdom)
- Philadelphia Museum Of Art (Philadelphia, United States)
- Sheldon Memorial Art Gallery (United States)
More information on this artwork on this websites
Edward Hopper - Office at Night
josephrobertmills.blogspot.com/2014/05/influences-...
Let us guess that whenever we read a sentence & like it, we unc...
totallyhistory.com/office-at-n...
Office at Night Artist Edward Hopper Year 1940 Medium Oil on canvas Locatio...
www.edwardhopper.net/office-at-nigh...
Office at Night, 1940 by Edward Hopper
Edward Hopper - Office at Night
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OilPainting [{A-8YDK6V}] (Inspired By)-PROMOTION(HVTHR15)-NamePlate-FRAME(W398PJ)-Linen-Dim(38 x 32.6 inch (96.5 x 82.8 cm))-Office at Night
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The painting depicts an office, occupied by an attractive young woman in a short-sleeved blue dress, who is standing at an open file cabinet, and a slightly older man who is perhaps in early middle age. He is dressed in a three-piece suit and is seated behind a desk. The nature of the office is unclear—it could just as easily be the office of a lawyer, an accountant, or of a small business.
The high angle from which the viewer looks down on the office implies that the viewer may be looking in from a passing elevated train—indeed, Hopper later informed Norman A. Geske, the curator of the Walker Art Center, which acquired the painting in 1948, that the idea for the painting was 'probably first suggested by many rides on the 'L' train in New York City after dark glimpses of office interiors that were so fleeting as to leave fresh and vivid impressions on my mind.' So this is not a prestige office—a fact that is reinforced by the awkward lozenge shape of the room, and by the small size of the man’s desk. A yet smaller desk, holding a typewriter, may belong to the woman. This implies that she may be his secretary.
Still, this is a corner office, which indicates that within their small organization, this is the most prestigious available space and therefore that the man is, perhaps, the manager or boss.
Edward Hopper
Edward Hopper
Oil On Canvas
Oil On Canvas