It would be great if you could give me a hand! :)
**** go for mmm mmm please to avoid revealing the name of the painting. Thanks
Painting 1.
***** is a 1942 painting by Edward Hopper that portrays people sitting in a downtown diner late at night. It is Hopper's most famous work and is one of the most recognizable paintings in American art. Hopper chose to paint a scene located at a sharply-angled street-corner, rather than at one of New York's many right-angled intersections.
Outside the diner, dull colors predominate, as might be expected at night. Inside, the counter-top and the men's suits are also dull. The two brightly-colored spots in the entire interior are the white outfit worn by the server and the female customer's red blouse. Indeed, her red blouse and lipstick represent the only use of red in the entire composition, causing her to stand apart from everything else in the painting.
Painting 2.
A movie theater in New York, one of those elaborate mock palaces where Hollywood spirits us for a few hours into another world - in this case apparently the high mountains.
The usherette who is caught up in her own daydreams and the isolated spectators, however, point up the hollowness of this sumptuous and action-filled world. The usherette is a twentieth-century counterpart to the bored waitress in Édouard Manet's A Bar at the Folies-Bergeres. Similar to Manet, Hopper has a genius for making the illusory world of the theater so enticing, so glamorous, and so completely empty. He tantalizes his assumed viewer with an almost mystical apricot light that illuminates the steps that lead out of this unreal world where the usherette stands guard.
Painting 3.
The painting portrays a lone woman staring into a cup of coffee in an Automat at night. The reflection of identical rows of light fixtures stretches out through the night-blackened window.
Hopper's wife, Jo, served as the model for the woman. However, Hopper altered her face to make her younger (Jo was 44 in 1927). He also altered her figure; Jo was a curvy, full-figured woman, while one critic has described the woman in the painting as "'boyish' (that is, flat-chested)".
As is often the case in Hopper's paintings, both the woman's circumstances and her mood are ambiguous. She is well-dressed and is wearing makeup, which could indicate either that she is on her way to or from work at a job where personal appearance is important, or that she is on her way to or from a social occasion.
She has removed only one glove, which may indicate either that she is distracted, that she is in a hurry and can stop only for a moment, or simply that she has just come in from outside, and has not yet warmed up. But the latter possibility seems unlikely, for there is a small empty plate on the table, in front of her cup and saucer, suggesting that she may have eaten a snack and been sitting at this spot for some time.
The time of year late autumn or winter is evident from the fact that the woman is warmly dressed. But the time of day is unclear, since days are short at this time of year. It is possible, for example, that it is just after sunset, and early enough in the evening that the automat could be the spot at which she has arranged to rendezvous with a friend. Or it could be late at night, after the woman has completed a shift at work. Or again, it could be early in the morning, before sunrise, as a shift is about to start.
Whatever the hour, the restaurant appears to be largely empty and there are no signs of activity (or of any life at all) on the street outside. This adds to the sense of loneliness, and has caused the painting to be popularly associated with the concept of urban alienation. One critic has observed that, in a pose typical of Hopper's melancholic subjects, "the woman's eyes are downcast and her thoughts turned inward." Another critic has described her as "gazing at her coffee cup as if it were the last thing in the world she could hold on to." In 1995, Time magazine used Automat as the cover image for a story about stress and depression in the 20th century.
