London-bound

It’s a glorious day to cross the pond. We leave this evening for our summer in London, and I can only hope the weather is this nice on the other side. This day filled with laundry and packing reminds me of our family getting ready for road trips to Iowa or St. Louis or the beach. I would always go to bed at 8pm the night before so the morning would arrive more swiftly (and because we often left before dawn, with thermoses of coffee by Dad’s side in the driver’s seat and young, wiry bodies sprawled across the seats and around the floor). Last night, though, we stayed up until midnight doing some last minute cleaning and watching episodes of The Office. And we won’t reach our destination until dawn tomorrow, when I’m sure I’ll be nearly hit by the first car I see (or don’t see) driving on the wrong side of the road.

This morning’s lack of food necessitated a trip to Dunkin’ Donuts. I need to remember that, when I don’t have coffee in my body and I’m not wearing contacts, I’m much less coherent at communicating my order to the cashier.

Yesterday, we went with Bria and Evan to the Edward Hopper exhibit at the MFA. It was amazing. Set us back a bit, but it was worth it. I’ve never seen an artist whose work in two different media (watercolor and oil) looks strikingly homogeneous. The detail and precision of his watercolor paintings was hardly distinguishable from the oils. I remembered seeing a Dali watercolor exhibit in Vienna and noticing the stark difference in both form and subject matter between these and his surrealist works (which I believe were mostly done with oil). Hopper exhibits very little difference. He also painted as many countryside scenes as the quiet, urban-commercial works with which we all associate him. His lighthouse projects stood out, as did his depictions of Victorian houses. Regardless, I was happy to see Nighthawks for the third time (twice before at the Chicago Institute). It used to be my favorite painting, before I fell in love with all of Vermeer’s work (especially this). But Hopper has reached iconic status in the American realist school and has managed to appeal and stay relevant in the age of increasingly abstract art.

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