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.