Seeing the Light

"Hodgkin's House"
Oil, 28 x 36 inches
Edward Hopper, 1928

It was the great painter Edward Hopper who said "All I really want to do is paint the light on the side of a house."  We can certainly  see and feel his enthusiasm for that endeavor when we look at his paintings. I love the light and shadow he captured in the top painting. I can almost feel the warmth of the sunlight on one facade, especially compared with the coolness of the shaded side of the house. I think the reason that these paintings of Hopper's have endured as masterpieces is that they are no mere architectural renderings of structures--they are stories about light and shadow!

"House on Pamet River"
Edward Hopper, 1934

Equally compelling is Hopper's "House on Pamet River", just above. This one is more complex--a marvelous melange of shapes. I love the geometry here! Even though there are a lot of angles and rooflines, the painting retains a simplicity that is striking. I would not dare compare myself to Hopper, but lately I have been experiencing the same pull  to paint

the sun on the side of a house. It sounds simpler than it actually is!

"Miller Services Building"
Oil on Board, 8 x 10 inches
(c) Lesley Powell 2016
SOLD

The past few weeks I have been outside in my neighborhood, and around my studio building, painting on location. I've been drawn to interesting shadow shapes, which means that I have to scout out my locations and be there at just the right time of day. I have challenged myself to see the variations in the whites and in the shadows. It's a good workout, believe me!

"Bungalow Driveway"
Oil on Linen, 12 x 8 inches
(c) Lesley Powell 2016
Available

I recently came across an interesting comparison. First below is a painting I did on location in Maine early this fall. I loved the way the light fell across this white house in the late afternoon. But I was also drawn to the interplay between the house and the utility pole. They seemed to be in concert somehow. So imagine my surprise when I found the bottom painting by Hopper. One commentator referred to the "tug of war" between the telephone pole and the house. I think that in both cases the pole makes for a much stronger composition than would have been possible without it. Hurrah for the humble utility pole!

"Marsh House"
10 x 8, Oil on Linen
(c) Lesley Powell 2016
Available

"Adams' House"
Watercolor
Edward Hopper, 1928