David Lynch, the master of cinematic disquiet, is, unsurprisingly, another self-professed Hopper-head, who often stresses the impact of painting – most prominently that of Hopper and Francis Bacon – upon his work. “For mood and painting quality, I like Edward Hopper,” he told artnet News’ Andrew Goldstein in an interview last year. A Hopperian moodiness, voyeurism and dramatic use of light and shade prevails throughout his 1986 thriller Blue Velvet, in particular, which peels back the veneer of white-picket-fence suburbia to reveal some truly sinister goings on beneath.
In the third season of Twin Peaks, meanwhile, which aired in 2017, Lynch made the most of his creative carte blanche, dropping in Hopper references left, right and centre – excerpts from Office in a Small City (1953), Gas (1940), Summer Evening (1947) and New York Movie (1939) all feature, as showcased in this excellent short by VoorDeFilm.
Martin Lewis died in obscurity in 1962; a retired art teacher who had found some success in his early career, but was largely forgotten after the Great Depression took away the demand for his craft, leaving Lewis to spend his last three decades teaching other people how to etch. History chose Edward