Art Reproduction of
Edward Hopper's “Gas”

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Many art critics consider Edward Hopper, 1882-1967, to be the first significant American painter in twentieth century art. His New Realism is considered the polar opposite of Jackson Pollock's Abstract Expressionism. Hopper's ambiguity made him the forerunner of American Pop Art.
Many viewers of Hopper's “Gas” are convinced it is about the struggle between commercial development aka “civilization” and nature. It seems set in a twilight zone halfway between where the world lost its innocence and where we destroy ourselves with “development” and high tech “improvements” to make life “better”.

Unlike the attire of most station attendants, the one in Hopper's “Gas” is not wearing mechanic's overalls or any of the usual clothing normally associated with this type of work. Instead he is dressed in a long-sleeved white shirt, tie and vest, and his activity is mysteriously hidden. And the small spire of the illuminated station make it look more like a church than a petrol pump and the attendant more like a priest conducting a ritual than a grease monkey.
Although still considered a large painting at 32 inches long, we have reduced this painting to about 80% of the original size to make it fit more easily into the decor of most homes without diminishing the message or impressiveness of the painting. Hopper used the petrol pump motif seen in “Gas” again in Four Lane Road, 1956, and a gas station was again used as a symbol of commercial development and the religious belief in the blessings of technology in Portrait of New Orleans, 1950. In all three paintings we are presented with the merciless encroachment of the industrialized state on a constantly retreating natural environment.

     In “Gas”, the two seem to be at an uneasy equilibrium but 10 years later in Portrait of New Orleans development obviously has the upper hand and. Sixteen years after “Gas” in Four Lane Road, nature has been obviously subjugated.
     After spending a year in Paris at a young age, Hopper returned to the United States and soon developed his unique style. He never changed it the rest of his life.
     Hopper's subject was everyday America. He captured in old houses, movie theaters, bars, and rural landscapes scenes that conceal memory, hope, adventure, poetry, and the intangible American spirit.
     Hopper's life was quiet, disciplined and orderly, much like his paintings. For more than 50 years he painted in his New York studio on the top floor of 3 Washington Square North and he never let fame and celebrity go to his head.

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Art Reproduction of Edward Hopper's “Gas”

Art Reproduction of
Edward Hopper's “Gas”