Alfred Jarry, Edward Hopper, Hip Hop, The Life and Times of Little Richard, and Partners

THE Q.L.P. SERIES WANTED a Hopper book to go with its 60 other titles; thus this respectable survey, which against Gail Levin’s far more inclusive Edward Hopper: The Art and the Artist (1981) and Edward Hopper As Illustrator (1979) is close to mere commodity.

Two distant but related points might be made. The heavily coated paper of The Art and the Artist gives the color reproductions an almost Kodachrome sheen, utterly distorting Hopper’s use of light rather than perspective to catch spatial and emotional depth; the duller paper in the new book preserves the flatness of the pictures. The way the paper shows how Hopper’s light recedes into his scenes also reveals an inescapable affinity between Hopper and Walker Evans—compare Hopper’s 1930 Early Sunday Morning with Evans’ 1936 Main Street Architecture, Selma, Alabama, or Evans’ 1936 Frame House, Charleston, South Carolina with Hopper’s 1946

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