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| Automat (1927) Edward Hopper |
Llevaba esperando el encuentro mucho antes de saber que podría producirse: había visto sus cuadros aquí y allá; jugando al escondite con ella desde su pubertad. Aun así, era incapaz de determinar con exactitud cuando comenzaron a ejercer en ella esa profunda fuerza de atracción, como cantos de sirena, enigmáticos, hipnóticos, poderosos.
El encuentro ocurrió de una forma tan casual como organizada: abrirle su corazón al chico de mirada encantadora; entrelazar 12 días para descubrir el romanticismo de lo cotidiano en una ciudad desconocida para los dos; y reservar, celosamente, una tarde parar adentrarse en el universo de esas pinturas que tantas veces la habían acompañado en sus pensamientos nocturnos.
Un momento, de dulce egoísmo premeditado, en la que su mente se alejaba de su acompañante para sumergirse en las paredes blancas y silenciosas que custodiaban pinceladas de desbordante intensidad; un intimismo voraz; la soledad de lo cotidiano retratada en su esencia: desnuda, bella, sórdida. La elegancia de la melancolía burguesa; una melodía decadente que se pierde en atardeceres inquietantes y noches infinitas.
Instantes personales congelados y expuestos al espectador; espectadores ensimismados en un solitario valls de reflexiones a los ojos de los demás asistentes.
(First of all, sorry for the quality of the translation, I wrote the original in Spanish, and I am not as fluent as I would like in English)
She had been waiting for the encounter long before she knew that it could happen; she had seen his pictures here and there, playing hide and seek with her since puberty. Still, she was unable to determine exactly when they began to exert on her that deep force of attraction like sirens’ songs, enigmatic, hypnotic, powerful.
The encounter took place in as causal as organized way: to open her hearth to the boy with enchanting eyes; to intertwine 12 days to discover the romance of daily life in a strange city for the two of them; and to reserve, jealously, an afternoon to enter in the universe of those paintings that so often had come along in her nightly thoughts.
A moment, of sweet premeditated selfishness, in which her mind went away from her companion to plunge into the silent and white walls which guard brushstrokes of overflowing intensity; a voracious intimacy; the loneliness of everyday life portrayed in its essence: naked, beautiful , sordid. The elegance of the bourgeois melancholy; a decadent melody which gets lost in disturbing sunsets and endless nights.
Personal moments frozen and exposed to the viewer; viewers engrossed on a lonely waltz of reflections in the eyes of the other attendees.
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| Summer Interior (1909) ; Edward Hopper
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| Eleven AM (1926); Edward Hopper
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| Hotel Room (1931); Edward Hopper
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| New York movie (1939); Edward Hopper
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| Chop Suey (1929); Edward Hopper
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| Nighthawks (1942) Edward Hopper
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| House by the Railroad (1925) Edward Hopper
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| Gas (1940) Edward Hopper
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