Five paintings made between 1928 and 1935—Manhattan Bridge Loop; Blackwell’s Island; Macomb’s Dam Bridge; Apartment Houses, East River; and Early Sunday Morning—share nearly identical dimensions and the same panoramic format. Collectively, these paintings provide invaluable insight into Hopper’s contrarian vision of a horizontal city; as Alfred H. Barr observed of Hopper’s work in 1933: “His indifference to skyscrapers is remarkable in a painter of New York architecture.”
Describing his aims in Manhattan Bridge Loop, Hopper explained that the painting’s horizontal composition was an attempt to give “a sensation of great lateral extent” and bring attention to the cityscape beyond the frame; “I just never cared for the vertical,” he later quipped. His depictions of the wide spans of the city’s bridges, its industrial landscapes, and its low-slung buildings elevate the quotidian and prosaic over the iconic, offering a powerful counterpoint to the awe-inspiring views of the New York skyline celebrated in the news and in works by many of his contemporaries.
