Soir Bleu

I've written here before about my love for Edward Hopper-esque paintings. But as Marvin Gaye would be the first to tell you, there ain't nothin' like the real thing.

There are so many Hopper portraits of lonely, isolated people unable to connect with themselves or anyone else, staring out windows or alone in a crowd at diners, it's hard to zone in on any one in particular (although for me, Nighthawks will always be the benchmark).

I'm not sure why I'm so drawn (SWIDT?) to these pictures, but I am.

Years ago the wife and I saw a Hopper exhibit at the Whitney in New York. It's one of the best exhibitions I've ever been to, and definitely my favorite (yes I look at other things besides comic book art).

Anyway, for some reason I was in a Hopper mood today, started going through his paintings and came across this one I'd forgotten about: Soir Bleu. Or as we say in English, Blue Night.

I don't know what to love about it first. The devastatingly sad and defeated clown (worked with him), as far from comical and funny as he could be. The far eastern lamps, swaying ever so slightly in the breeze. The eclectic cast of characters dining with and around the clown, including the man behind the post who looks suspiciously like Vincent Van Gogh.

Here is one of my favorite descriptions of what Hopper is trying to convey:

Soir Bleu is a vivid and monumental work painted in 1914, almost four years after Hopper's last sojourn in Paris. Its grand scale is an indication of how strong an impression Parisian life had made on the young Hopper.

At home in his New York studio, he created this melancholy allegory from reminiscences partly literary, partly art historical, and certainly personal. The artificiality of Soir Bleu is inevitable and intentional.

Hopper, as dramatist, has assembled a cast of characters and traditional types that play out timeless roles of courtship, solicitation, and tragic self-isolation. One of these characters is described in a preliminary drawing with a note, the shadowy isolated figure of the procurer seated alone at left. Hopper has also included a classically attired clown in white, a military officer in formal uniform, a bearded intellectual in a beret, perhaps an artist, and a well-dressed bourgeois couple. Standing beyond the balustrade, as though presiding over this mixed company, is a haughty beauty in gaudy maquillage, her painted face demanding attention in the brilliant glow of oriental lanterns in the cool blue night.

In Soir Bleu, we witness Hopper's early attempt to create, rather than merely record, a sophisticated, anti-sentimental allegory of adult city life. Back in America many years later, he would stage the masterpiece Nighthawks (1942) with all the worldly reality he sought in Soir Bleu but was too young to make emotionally convincing. However, this major early painting gives a clear indication of Hopper's enormous ambition for his art.

Now I realize no one comes to this blog for a discussion about the meaning of art, its nuances or relevance to the current culture. In fact I'm not sure why anyone comes to this blog at all. My guess is it's a combination of typing errors and glitchy routers.

Nonetheless, occasionally I like to take a break from writing snarky posts, agency bashing and random rambling and appreciate the inspiring, creative genius of true masters like Hopper.

You might be concerned about the fact I'm attracted to paintings that leave me feeling melancholy, depressed and isolated. Don't be.

I work in advertising. I'm used to it.

It's lonely at Lexus

When my Lexus service writer asked me this morning what I was bringing my ES350 in for, I said, "It's losing a $1000 a week. Anything you can do about that?" He was not amused.

But, after looking around, it was clear I'm not the only one unhappy the value of my car is going down like a bobsled to hell.

I like going to the Lexus dealership in Newport Beach. First of all, just being a Jew in Orange County always makes me feel like I've gotten away with something big. The dealership is like an extremely upscale mall - South Coast Plaza with 30-weight. While I was sitting on one of the many plush leather chairs in the customer waiting lounge, next to the Lexus café, in front of the video arcade and just around the corner from the Lexus clothing store, listening to the Georgetown basketball game on one of the three 62 inch HD televisions that surrounded me, I noticed something unusual.

I was alone.

Not just in the waiting area, but in the dealership. Not one other customer waiting for their car, not one person looking at new cars on the showroom floor. Obviously news of the recall being blasted across the front page and leading the news day after day is taking it's toll.

I took a bite of my all-butter croissant and a sip of my decaf latte I'd bought at the Lexus café and pondered this for a while. And looking out at the lot, with all those shiny, lonely new Lexus cars, here's where I came out.

It's kharma at work. It's the recall for Toyota/Lexus, and the economy for the rest of the dealers.

For years, these smarmy, slick, slimy, unctuous jerks have been sucking all the joy out of what should be one of the happiest and exciting purchases you ever make. Their service departments have been staffed by people who, if there were any real justice in the world, would be serving five to ten for armed robbery. When I used to have my Audi, I would bitch and moan to a friend how much it cost every time I took the car to the dealer for service. He looked at me, shook his head, and said, "How old do you have to be before you realize the dealer is always gonna screw you." He was right.

So this emptiness at Lexus and all the others? The pundits can call it what they want, but I think we all know what it really is.

Payback.

*photo courtesy GettyOne