Comparative Study: Human Emotions in Art

Screaming Pope, Francis Bacon (1953) Sorrowing Old Man (At Eternity’s Gate), Soir Bleu, Edward Hopper (1914)
Oil on canvas Vincent Van Gogh (1890) Oil on canvas
Oil on canvas

Human emotions have been a central subject and driving force in the world of art throughout history. Art, in its various forms, has provided a
powerful medium for artists to express, explore, and convey the complex, nuanced spectrum of human emotions. Whether through painting,
sculpture, literature, music, or performance, artists have consistently sought to capture the essence of human feelings, creating works that
resonate with audiences on a deeply emotional level. In this study, the three paintings: Francis Bacon’s “Screaming Pope” (1953), Van
Gogh’s “Sorrowing Old Man” (1890), and Edward Hopper’s “Soir Bleu” (1914) will be analyzed by means of formal art qualities, cultural
significance, intentions, as well as each artwork’s connection in terms of exploring the theme of human emotions. Each painting will be
contrasted with one another in order to draw direct comparisons, including their techniques and how they deliver messages to viewers.
Furthermore, I will discuss how these artwork serves as a benchmark in shaping the general concept of my own artistic pieces.
 Formal Analysis: Screaming Pope, Francis Bacon
Composition and form: Texture:
The central focal point of the painting is Bacon’s appliance of brushwork is a pivotal element
dominated by the Pope’s contorted and that not only determines the general texture of the
screaming face as positioned in the foreground, painting, but also plays a significant role in enhancing
synonymous to Bacon’s signature style – the emotional and visual influence to viewers.
distorting the human face to evoke feelings of
agony, anguish and existential torment. The Bacon’s masterful use of the
impasto technique is evident in the
Pope’s head and torso is isolated against a stark,
thick layers of paint laid with bold,
empty background, desolated in absence of any forceful and gestural brushstrokes,
contextual details surrounding the figure’s space. creating a vertically rendered
The shallow, claustrophobic expanse in the texture especially seen from the
composition accentuates the emotional impact of background.
the painting: anguish, torment and dread.
This technique facilitates a
Color: tangible roughness and jagged
The background is oppressed by deep suffocating quality in the portrayal of the
shades of black alongside strokes of bright Pope’s face and vestments
yellowish hues; hence instilling an atmosphere of where pronounced ridges,
impending doom and despair. The Pope’s flesh is peaks and troughs can be
colored in sickly, pale tones of white and gray, observed. These thick layers of
starkly contrasted with the dark backdrop, paint give the Pope’s skin a
emphasizing his ghastly, otherworldly expression. scarred, pockmarked
The blatant juxtaposition of colors reinforced by appearance, intensifying the physical and emotional
dramatic lighting, in which appears from no agony as depicted in his contorted face.
discernable source, and eerie shadows adds an
intense depth to the painting’s palette. This The turbulent application of paint results in a surface
carefully chosen color scheme immerses viewers that appears in a constant state of flux and agitation,
in the Pope’s psychological suffering, making it a contributing to a sense of instability and unease.
powerful example of how color can convey Overall, the texture of Bacon’s painting aligns closely
complex emotions in art. with the principles of the Expressionist movement,
adding physicality to the artwork as means of
conveying intense emotions, individual subjectivity
and psychological depth.
Dimensions: 153 cm ⨉ 118 cm, Media: Oil on canvas
 Formal Analysis: Screaming Pope, Francis Bacon
Light and shadow:
As previously mentioned, Bacon utilizes a highly dramatic and unnatural lighting scheme wherein the light source is ambiguous and doesn’t seem to emanate
from any specific direction. We can characterize the overall scheme in light and shadow through the following details:
Face and clothing:
The Pope’s face is not only lit Backdrop:
harshly (as seen from his forehead, A stark contrast is established
nose and cheekbones), but also between the foreground as
partially obscured by shadows on compared to the extreme,
one side where light is blocked. This suffocatingly dark background
asymmetrical use of light and primarily enveloped by deep
shadow adds three-dimensional shades of black and yellow.
depth to the figure’s facial features. The off-color vertical shadows
The same face casts exaggerated within the vast background
shadows around his gaping eyes represents the overwhelming
and mouth, accentuating his emotional darkness which
tortured expression with contorted devours the Pope wholly.
lines or wrinkles. Furthermore, the general
flatness and lack of traditional
In addition, the Pope’s vestments depth surrounding the
and throne is also illuminated by painting’s space is reminiscent
another set of almost blinding yellow of many Expressionist
light to showcase his authoritarian artworks, emphasizing the raw
power, which is ironic considering experience conveyed by the
the Pope’s oppressed condition, as artist.
if his own position confines him
within the canvas, unable to escape
the anguish that comes with.
Function and Purpose: Screaming Pope, Francis Bacon
Francis Bacon’s “Screaming Pope”, or also known as “Study after Velázquez’s Portrait of
Pope Innocent X,” stands as a disturbing, provocative piece that assumes to convey
religious and political notions, while also utilizing unique artistic attributes to draw emotional
connection from viewers.

At its core, “Screaming Pope” can be observed as a scathing critique of the dominion and
power wielded by religious figures, particularly the Catholic Church. The central character,
Pope Innocent X, who is depicted in a state of extreme psychological distress, challenges
the traditional image of the Pope as an unassailable, fortified individual of authority.

The use of Pope Innocent X as the subject matter carries significant religious symbolism.
Such an interpretation of the Pope’s portrait, originally painted by Diego Velázquez,
questions the concept of divinity, which is further explored by Bacon’s appliance of
distortion, a visual tool that amplifies the psychological and thematic impact of the painting.
The Pope’s face is grotesquely contorted, with elongated features and a gaping mouth. This
distortion not only reflects the Pope’s inner turmoil, but also represents a visual metaphor for
the blur between truth and morality by those in position of power.

The dark, suffocating shades of black found in the background can be inferred as the
existential struggle of the Pope, while his pale white skin and the bold purple of his
vestments represent the stark contrast between the divine and the human. This color
symbolism underscores the Pope’s emotional torment and metaphysical crisis, disputing
conventional presentations of religious sanctity. Furthermore, the juxtaposition of light and
dark portrays the duality of human nature – how even those possessing power and spiritual
significance can grapple with profound suffering and turmoil.

With the “Screaming Pope”, Bacon prompts the audience using shock factor to introspect
about the profound complexities and contradictions that defines the essence of being
human.
Cultural Significance: Screaming Pope, Francis Bacon
Francis Bacon (1909-1992) was a British painter known for his innovative works that explored themes of suffering, existentialism and the human
condition. Bacon’s personal life was marked by his experience as a gay man in a society that was often hostile towards LGBTQ+ individuals. This
personal identity played a significant role in shaping his art, as he frequently depicted the anguish and torment of the human psyche in his works.

When “Screaming Pope” was first exhibited and published in 1953, Bacon’s unapologetically provocative approach to the subject matter stirred
significant controversy and debate within the art world, including the broader public. Many viewers were shocked by the intensity of the painting both
in terms of its emotional impact and its subversion of established artistic norms. The painting’s subversion raised questions about the role of art in
critiquing the prevailing cultural and religious symbols.

Francis Bacon (1909 - 1992)
The reception of “Screaming Pope’ can be described as diverse and multi-faceted. In the context of post-World War II culture, this expressionist
approach served as a means of reckoning with the trauma and upheaval of the war. The painting captures the existential angst and emotional
turmoil prevalent in the aftermath of a devastating global conflict.Some viewers were deeply moved by the painting’s emotional force and its capacity
to elicit empathy for the Pope’s anguish, considering it as a powerful commentary on the human condition alongside the existential struggles that all
individuals face. Others, however, found the painting unsettling, disturbing, and even sacrilegious. The divisive reactions it evoked contributed to its
cultural significance, sparking ongoing discussions about the boundaries of art and its capacity to challenge societal norms.

On a side note, when asked why Bacon was compelled to revisit Velázquez’s Portrait repeatedly, he explained that his motivation was not to criticize
the apopes
On themselves,
side note, but merely
when asked seeked
why Bacon was“ancompelled
excuse totouse these
revisit colours, and
Velázquez’s you can’t
Portrait give ordinary
repeatedly, clothesthat
he explained thathis
purple color without
motivation was notgetting into
to criticize
a sort
the of false
popes fauve manner”.
themselves, but merely During
seekedthis“an
time, Bacon
excuse was these
to use coming to terms
colours, andwith
you the
can’tloss
giveofordinary
a cold, clothes
disciplinarian father,
that purple his without
color early, illicit sexual
getting into
encounters,
a sort of falsein which
fauve developed to a very
manner”. During destructive
this sadomasochistic
time, Bacon was coming approach to sex.
to terms with the loss of a cold, disciplinarian father, his early, illicit sexual
encounters, in which developed to a very destructive sadomasochistic approach to sex.
“Screaming Pope” exhibits a pope within a cage-like, enclosed structure, often in states of distress, or simply screaming. Bacon professed atheism
and identified
“Screaming as aexhibits
Pope” Nietzschean,
a popeinspired
within aby the philosophical
cage-like, theories ofoften
enclosed structure, Friedrich Nietzsche
in states advocating
of distress, both
or simply a threatening
screaming. Bacon nihilism and atheism
professed a slave
morality
and as exemplified
identified for the philosopher
as a Nietzschean, inspired by in the
historical Christianity.
philosophical Thus,ofsome
theories contemporary
Friedrich Nietzschecritics saw the
advocating painting
both as symbolic
a threatening executions,
nihilism as if
and a slave
Bacon
moralityaimed to embody
as exemplified forNietzsche's assertion
the philosopher that “God
in historical is dead”.Thus,
Christianity. Othersome
critics viewed it ascritics
contemporary a symbol of the
saw the figurative
painting killing ofexecutions,
as symbolic a father figure.
as if
Though,aimed
Bacon Bacontobalked
embodyat such literal interpretations
Nietzsche's assertion thatand later
“God is clarified that hecritics
dead”. Other only sought
viewedtoit “triumph over” of
as a symbol Velázquez.
the figurative killing of a father figure.
Though, Bacon balked at such literal interpretations and later clarified that he only sought to “triumph over” Velázquez.
Ultimately, “Screaming Pope” brought forth a profound influence on contemporary art, inspiring subsequent generations of artists to explore the
depths of human emotions, including the darker aspects of the human psyche. The painting encouraged other artists to push the boundaries of
artistic expression and engage with themes of vulnerability, identity, and existentialism. Over time, “Screaming pope” has become an iconic piece of
art, especially in the Expressionist movement, and a defining piece in Francis Bacon’s body of work. It has been exhibited in prestigious museums
and galleries around the world, cementing Bacon’s status as one of the most influential artists of the 20th century. The painting’s cultural legacy
continues to provoke debate and contemplation regarding the intersection of art, identity, power and the human condition.
Formal Analysis: Sorrowing Old Man, Vincent Van Gogh
Composition:
The composition of the painting is simple but highly
impactful. The central focus is tightly framed on the old
man’s face and body, occupying the majority of the
foreground. His figure is depicted in an enlarged scale
and dominates the composition, emphasizing his
emotional and psychological presence. This ensures that
the viewer’s attention is immediately drawn to the old
man, instilling a sense of intimacy, as well as inviting
viewers to closely examines his features and body
language.
In addition, Van Gogh employs a
relatively shallow pictorial space
resulting in the background being
flat and devoid of perspective or
spatial cues. This lack of depth
contributes to the dreamlike
quality and emotional isolation, as
the old man seems to exist in a
void, detached from his
surroundings.
Form:
Within the larger composition, there is a secondary
element at play: the diagonal lines created by the old
man's bent posture and distorted proportions found
throughout his body. The figure’s head is elongated, with
exaggerated, angular edges, while the torso appears
hunched over and leaning heavily to one side. His fingers
are gnarled and twisted, clasped firmly onto the forehead,
obscuring almost all facial features. Despite showing no
clear signs of emotion, the old man’s frail and weary body
language is quick to substitute as a testament of his
immense sorrow or despair.
Texture:
Van Gogh’s innovative impasto
technique takes center stage in
this painting, with thickly applied
paint that transforms the canvas
into a tactile experience,
synonymous to the
Post-Impressionist movement.
One can almost feel the texture
with their fingers, as the paint is
layered and sculpted, particularly in the background and
the figure’s clothing. The brushwork is equally expressive
– consisting of bold, dynamic stokes that vary in
thickness and direction. This brishwork, combined with
the impasto, generates a sense of movement and depth,
inviting the viewer to immerse themselves in the painting.
Moreover, the use of palette knife can be observed
in some areas, giving rise to distinct, raised
wrinkles, ridges and peaks of paint, intensifying the
tactile quality, This pronounced texture is not a
mere aesthetic choice; it serves to reflect the
emotional depth of the subject – the sorrowing old
man. The tangible texture mirrors the character’s
aging and weathered appearance, conveying a
profound sense of hardship and the weight of
years gone by.
Van Gogh juxtaposes areas of intense texture with
smoother passages, such as the old man's face.
This intentional contrast draws attention to the
emotional expression on the man's face, making it
a focal point amid the textured backdrop.
Formal Analysis: Sorrowing Old Man, Vincent Van Gogh
Color: Light and shadow:
Although the source is not framed within the
Starting
Starting with
with the
the backdrop,
backdrop, the
the scathed
scathed walls
walls are
are painted
painted painting, all the elements seen within the space are
in a
in a muted
muted light
light grey
grey shade,
shade, rendering
rendering the
the space
space toto illuminated by a bright light, presenting pristine
appear
appear forebodingly
forebodingly clinical
clinical and
and institutional.
institutional. This
This further
further clear details and saturating established colors. This
confines the
confines the subject
subject into
into an
an atmosphere
atmosphere of of desolation
desolation
distinct feature captures the effects of both natural
and
and solitude.
solitude. and artificial lighting, as well as allowing viewers to
As for the old man himself, Van Gogh observe beyond the limitations blocked by strict
intentionally used more saturated colors for the realism.
figure (including his yellow face and vivid blue
overalls) and the brown chair being sat on, The dark regions, indicating shadow, is substituted
setting them against a subdued ochre wooden by shades of green. This effect is applied all
flooring to make them stand out rather than throughout the painting, except for the old man’s
focusing on finer details. clothing and chair. Alternately, bright regions,
indicating light, is substituted by shades of grey.
Another striking color placement
found in the painting is the vibrant Additionally, one notable aspect of “Sorrowing Old
red situated at the bottom-left Man” can be found in the perceived lack of
corner, visible in the small fire. The
traditional, three-dimensional shadows. It’s as if
color red is often employed to
amplify the intensity of emotions,
everything has been flattened into a tableau of
accentuating the strength of his colored blocks, rather like a collage of cut-out
agony. The sharp juxtaposition pieces. Instead of shadows, Van Gogh applies
between the blue heavy linework to instill depth and weight of each
and red demands undivided attention to the old man’s object present.
pain and despair. This creates conflict in the viewer’s
sentiment, mirroring the inner turmoil experienced by the Heavily influenced by Post-Impressionism, Van
sorrowful figure. Gogh was able to experiment with color, form and
texture in unique ways that deviated from
This constant interplay of contrasts among the different convention artistic techniques. The absence of
elements within the painting contributes to the overall realistic light and shadow shares the artist’s
emotional tone of distress conveyed by the main subject. glimpse into an exotic and idyllic land that he
The same contrast imparts an unsettling and chaotic
idealised.
quality.
Function and Purpose: Sorrowing Old Man, Vincent Van Gogh
Van Gogh was of the opinion that during our lowest moments, our senses become more
perceptive that those who haven’t experienced profound despair. In the depths of hopelessness,
our eyes can see the wonders of the world and beyond, or as the name suggests, ‘eternity’. At first
glance, it may be challenging to understand how this painting could soothe a troubled soul, but the
meaning goes much deeper than its surface.

Having faced significant hardships coupled with an unpleasant childhood, this painting manages to
reveal a glimmer of the painter’s enduring hope, shining through even in the darkest moments of
his life. The fire in the painting may be indicative of his hope or his belief in a higher power.
“Sorrowing Old Man” is not merely a reflection of Van Gogh’s inner turmoil, but also a testament to
his solace in the idea of an eternal home.

As a indication of the artist’s distress during his time confined in an asylum, the somber and
desolate background, dominated by a clinical shade of white and ochre yellow, is synonymous to
feelings of emptiness and abandonment. The old man sits alone in a simple, unadorned room,
emphasizing solitude that often accompanies psychological suffering.

The clenched fists in the painting signify control, illustrating how the old man has concealed his
emotions and internal struggles. The figure further obscures his face, reluctant to reveal his
vulnerability even in solitude, The depiction of an elderly man serves as a reminder of the later
stages of life and the passage of time, where one faces the conclusion of their journey, prompting
viewers to envision their own future selves in a similar position.

“Sorrowing Old Man” provides Van Gogh’s insights into his personal life, revealing his keen powers
of observation, theological beliefs and his struggle to seek peace in the face of discomfort. Despite
being exhausted by his illnesses, Van Gogh’s brilliant artistry allowed him to resonate his inner
conflict with viewers on an universal level.

Dimensions: 80 cm ⨉ 64 cm, Media: Oil on canvas

Cultural Significance: Sorrowing Old Man, Vincent Van Gogh
Vincent Van Gogh (1853-1890) was a Dutch Post-Impressionist painter, who became recognized
as one of the most celebrated and influential artists in the history of Western art. In a decade, he
produced roughly 2,100 artworks, including around 860 oil paintings, many of which date from the
last two years of his life. These paintings are characterized by bold colors and dramatic,
expressive brushwork, recognized as the artist’s distinctive personal style. Van Gogh’s life was
marked by mental health struggles, poverty and personal turmoil. Despite these challenges, he
created a vast body of work that continues to captivate and inspire audiences worldwide.

This painting was created based on a pencil sketch titled “Worn Out”, which was part of a study
series completed in 1882. These studies focused on a war veteran named Adrianus Jacobus
Zuyderland, who resided in a local almshouse in The Hague. “Worn Out” itself was a revised
version of a drawing and watercolor that Van high had produced the year prior. The initial
inspiration for “Worn Out” came from Hubert von Herkomer’s popular print titled “Sunday at the
Chelsea Hospital,” which depicted an elderly war pensioner slouched over and lifeless, similar to
the then developed Van Gogh’s “Sorrowing Old Man”.

“Sorrowing Old Man” played a pivotal role in the development of Expressionism, an art movement
that sought to convey raw, emotional and subjective experiences through art. Although categorized
as a Post-Impressionist artwork, Van Gogh’s departure from transitional techniques and his
emphasis on personal expression has a lasting impact on the evolution of modern art.
Expressionism artists like Edvard Munch and Ernst Ludwig Kirchner were deeply influenced by
Van Gogh’s unique artistry.

Similarly, “Sorrowing Old Man” serves as a poignant representation of Van Gogh's

well-documented, emotional torment. This painting contributed to raising awareness about mental
health issues in the context of creative process, which not only underscores the notion that great
art can emerge from deep personal suffering, but also highlights the idea on how art can be a
therapeutic outlet for individuals facing emotional challenges – a concept which continues to
resonate in contemporary discussions about the healing power of creative expression.
Dimensions: 80 cm ⨉ 64 cm, Media: Oil on canvas
 Formal Analysis: Soir Bleu, Edward Hopper
Composition:
The composition can be divided into
three sections: the blue, dimly lit sky –
similar to a gloomy evening, the dark
navy mountains set in the background
and lastly, the distinct café setting
placed forefront.
As observed, there appears to exist a
balance of vertical and horizontal
alignments within the composition. For
instance, Hopper included multiple
lanterns to enrich the seemingly empty
blue sky. The size and placement of
these lanterns is careful not to touch
the main foreground (café setting),
implying that the lanterns are meant
not only as specific accompaniments
for the originally barren sky, but also to
adorn the painting’s horizontal
distribution.
Additionally, Soir Bleu’s defining
vertical focus is the grey café pillar
situated on the left region, set side to
side with a female prostitute figure in
order to add certain vertical length
against a primarily horizontal
composition.
Form (Subjects):
Some art experts propose that the
clown may be a representation
Hopper’s identification with
misunderstood outcasts,
particularly performs of his era.
Some of the other individuals in
the café may be portraits of real
people.
As an example, the man sharing
the clown’s table bears a
resemblance to Vincent Van Gogh,
and the cool colors of his face
evoke memories of Van Gogh
artistic style.
Form (Subjecs):
“Soir Bleu” depicts a café in France where seven individuals of different social
The man from the upper-class
classes of Parisian Society are gathered. The central figure in the painting is a
couple seated to the clown’s left
clown, clothed in all-white attire with red accents around his lips and eyes. He is
share similarities with the side
seated at a table, engrossed in smoking a cigarette.
profiel of Edgar Degas, an artist
who significantly influenced
At the clown’s table, two other men are seated, seemingly oblivious to his presence.
Hopper. It’s plausible that Hopper
One appears to be a military figure with epaulettes, while the other is a bearded
identified himself with fellow artists
bohemian, who is also faintly aware of his existence.
through the portrayals in “Soir
Bleu”.
Adjacent to the clown, on the far left, is another man (speculated to be a pimp),
sitting by himself enjoying a cigar. Standing at the clown’s right is a woman with
blatant, flamboyant makeup who could either be a waitress or a prostitute eyeing
potential clients.
 Formal Analysis: Soir Bleu, Edward Hopper
Color:
“Bleu” is French for ‘blue’, and as the
name suggests, “Soir Bleu” is primarily
enraptured by cool colors, as if the
entire atmosphere is submerged in a
blue tint. This results to warm colors
appearing in its cooler shade. One
prominent example of such effect can
be seen on most skin tones present in
the painting, including those of the
prostitute, the female in yellow and the
clown as a prime figure. Other males,
on the other hand, are observed to
have red undertones to compliment
against the predominantly grey space.
This same pattern is also found in the
clown’s face: having grey, pale skin
accompanied by red markings on his
eyes and mouth. Similarly, the Lighting and Shadow:
prostitute’s face appears grey, The way the lighting is arranged in this painting creates an obvious emphasis on the main
followed by bright, ornate red makeup. subject: the clown. Notice how the clown’s clothing remains a bright white as if illuminated by
Thus, the color pattern is established: another unknown light source; especially compared to the upperclass couple who sits under
blue for the background and overall a lantern and the prostitute who stood behind the evening sky. The other figures are engulfed
ambience, while the subjects are in shadow to draw viewers’s attention more strongly towards the clown.
either grey or red in appearance.
Texture:
Some other notable color as viewed in Hopper’s paintings feature smooth, unetxtured surfaces. This smoothness, achieved through
the painting includes greens and careful brushwork and the use of oil paints, imparts a sense of clarity and precision. These
yellows applied on lanterns, as well as smooth surfaces can evoke stillness and quiet, creating a contemplative atmosphere.
female clothes. This color sequence Texture is applied to convey isolation and solitude in Hopper’s works. The texture of solitary
adds variance to the already figures, such as the clown in this case, can make the audience feel detachment or
established color pattern. loneliness, emphasizing the psychological aspects of his art.
Function and Purpose: Soir Bleu, Edward Hopper
The artwork effectively captures the sensation of being immersed in a foreign
culture. Hopper skillfully illustrates the stark contrast between solitude in
America and Paris. In his American pieces, he depicts vacant public spaces
where individuals sit alone, content in their isolation. However, in his portrayal of
a Parisian café, the place is bustling with people, yet there’s a palpable
disconnect among them. For instance, a clown shares his table with two others,
but there is no genuine connection within the group. The prostitute occupies the
same space as this group but seems only vaguely aware of their presence.

Hopper’s artwork highlights the disparity between Americans and Parisians while
also conveying a shared sense of detachment that is oddly similar between
them. The painting effectively presents a group of individuals all wearing a public
mask while privately grappling with their own There is zero interaction within a
single frame and each person is distinctively isolated from the others, forming a
world of alienation where the figures seek meaning through various means such
as costumes, drinks, parties, and more.
“Soir Bleu”
Although represents
Hooper’s an unsual
style typically departure
lacks humor or from Edward Hopper’s
self-awareness, typical
this painting bodydeeper
provides of work, as his
insight intoearlier oil paintings
the theme. mostly clown
The melancholic featured expansive
smoking in the
landscapes and cityscapes
café may symbolize a poignantdevoid
scene of prominent
that human figures.
deeply resonated However,
with teh artist. One this
couldpainting is a figurative
argue compellingly that pice of artserves
the clown that reveals Hopper’s for
as a self-portrait aspiration
Hopper.
Both the artist
to work and the
on larger performerakin
canvases struggle withstyles
to the the need fro validationartists
of renowned in the such
absence
as of a true audience.
Matisse The physical
and Piacsso. Even the partition separating
choice of the the
title,clown
“Soirfrom the
Bleu,”
others further emphasizes his vulneablity, loneliness, isolation and general disconnect from the setting, which adds to his
emphasizes Hopper’s intention to evoke a French atmosphere and association, He deliberately opts for the French name rather than a morevulnerability.
straightforward English translation like “Blue Evening,” thereby encouraging viewers to think of France when seeing the artwork.
The image of a sad clown has garnered considerable attention and resonated with many of the audience. It serves as a poignant reminder that outward
appearances can be misleading and not necessarily reflective of one’s inner emotions. This intriguing contradiction is commonly referred as the “Sad Clown
When published
Paradox” in 1914,
and has been Edward
a subject Hopper
of study displayed
among his painting
psychologists seeking“Soir Bleu” alongside
to comprehend another
its profound artwork
impact. depicting the
Fundamentally, a New York street.
Sad Clown Paradox While the
revolves
adjacent painting received favorable reviews, “Soir Bleu” did not garner the same level of acclaim. This led to Hopper storing it
around the stark contrast between our expectations and the reality we encounter. Clown are typically associated with merriment and laughter, so when weaway and redirect
his attention
encounter towards
a sad clown, italeaves
more aAmerican theme.
profound and Manyimpression.
enduring years after his
This death,is“Soir
paradox Bleu
closely tiedresurfaced.
to the notion The painting exudes
that individuals a nostalgic
may conceal ambiance,
their pain or sorrow
beneath a facade
reminiscent of happiness,
of classic cinema,much
and like a clownto
continues does
be aduring their performance.
significant piece in Hopper’s oeuvre.
Cultural Significance: Soir Bleu, Edward Hopper
Painted in 1914, which was four years following his last visit to
Paris, “Soir Bleu” emerged during a phase of professional
disillusionment in Edward Hopper’s career. Hopper has been
toiling away as an illustrator for nine years, eagerly waiting his
breakthrough. At this time, the art world was enthralled with
abstraction and cubism, but the young artist remained staunchly
devoted to realism. While Picasso was deeply immersed in
synthetic cubism and Matisse was exploring vibrant, technicolor
works, Hopper steadfastly pursued a style centred on creating
stark, almost photographic landscapes rich in context. Ultimately,
this commitment to his unique artistic vision proved successful for
him, but in the midst of a flourishing abstract art market, it meant
rice and beans— and paintings of sad, alcoholic clowns.

“Soir Bleu” represents an unsual departure from Edward Hopper’s typical body of work, as his earlier oil paintings mostly featured expansive
landscapes and cityscapes devoid of prominent human figures. However, this painting is a figurative pice of art that reveals Hopper’s aspiration
to work on larger canvases akin to the styles of renowned artists such as Matisse and Piacsso. Even the choice of the title, “Soir Bleu,”
emphasizes Hopper’s intention to evoke a French atmosphere and association, He deliberately opts for the French name rather than a more
straightforward English translation like “Blue Evening,” thereby encouraging viewers to think of France when seeing the artwork.

When published in 1914, Edward Hopper displayed his painting “Soir Bleu” alongside another artwork depicting a New York street. While the
adjacent painting received favorable reviews, “Soir Bleu” did not garner the same level of acclaim. This led to Hopper storing it away and redirect
his attention towards a more American theme. Many years after his death, “Soir Bleu resurfaced. The painting exudes a nostalgic ambiance,
reminiscent of classic cinema, and continues to be a significant piece in Hopper’s oeuvre.