plate no. 9674
Chop Suey
Edward Hopper, 1929
recreation guide
Edward Hopper’s *Chop Suey* (1929) is a quintessential example of his genre painting practice, depicting ordinary people engaged in common activities within an urban interior (Source 5). Hopper’s approach to such scenes was heavily influenced by his lifelong devotion to cinema and theatre, which shaped his compositional methods to emphasize dramatic lighting and isolation (Source 3). The work reflects his transition from the etchings of the early 1920s, which explored themes of silence and solitude, into oil paintings that captured the 'social realism' of American life (Source 3). The painting is characterized by Hopper’s mastery of light and atmosphere, treating the medium not as a mere substitute for nature but as a vehicle for expressing feeling through 'painted symbols' (Source 2). His technique likely involved a rigorous understanding of color theory, particularly the use of complementary colors to neutralize hues without shifting them, ensuring the integrity of the light’s effect (Source 7). The composition avoids the sentimental or anecdotal nature often associated with genre painting, instead focusing on the stark, realistic depiction of the environment and the figures within it (Source 6).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints | Primary medium for creating the illusion of light and form | High-quality artist-grade oils (e.g., Winsor & Newton, Gamblin) |
| Canvas | Support for the oil paint | Linen or cotton canvas, primed with gesso |
| Brushes | Application of paint, ranging from broad masses to fine details | Hog bristle for impasto, sable for glazing |
| Solvents (Turpentine/Oil) | Thinning paint for underpainting and glazing | Odorless mineral spirits or linseed oil |
| Pencil/Charcoal | Initial sketching of forms and composition | Graphite pencils or vine charcoal |
preparation
surface prep
The canvas should be prepared with a neutral ground, likely white or off-white, to allow for the full range of light and shadow effects characteristic of Hopper’s work. While specific preparation methods for *Chop Suey* are not detailed in the sources, Hopper’s practice involved careful attention to the 'vital qualities' of the medium, suggesting a smooth, well-primed surface to facilitate the precise control of light and color (Source 2).
underdrawing
Hopper likely began with a rough sketch in pencil, charcoal, or thin oil to establish the general form and composition (Source 4). Given his background in etching, he may have had a strong sense of line and value before applying paint, but the sources do not specify if he left visible underdrawings in his oil paintings. The sketch would focus on the placement of figures and the architectural elements of the restaurant interior.
underpainting
An underpainting in monochrome or limited palette may have been used to establish values and composition before applying color. This aligns with the advice in Source 1 to make copies and studies to correct weaknesses in handling broad masses or finish. Hopper’s attention to light suggests a careful underpainting to map out the areas of illumination and shadow.
color palette
Warm Yellows/Oranges
Yellow Ochre, Cadmium Yellow, possibly mixed with white for tints
Light sources, skin tones, and illuminated surfaces
Cool Blues/Greens
Ultramarine Blue, Phthalo Green, mixed with black or complements for shades
Shadows, background elements, and contrasting areas
Neutrals/Grays
Mixtures of complements (e.g., red and green, blue and orange) to avoid hue shifts
Clothing, furniture, and architectural details
Deep Browns/Blacks
Burnt Umber, Ivory Black, or dark complements
Deep shadows and defining edges
composition
The composition likely emphasizes the isolation of the figures within the space, a theme consistent with Hopper’s earlier etchings like *Night on the El Train* and *Evening Wind* (Source 3). The use of light and shadow to divide the space and create a sense of drama is characteristic of his cinematic influences (Source 3). The figures are likely positioned to engage in common activities, typical of genre painting, but without the sentimental or anecdotal focus often found in earlier traditions (Source 5, Source 6).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the basic forms of the figures and the restaurant interior using pencil or charcoal. Focus on the placement of light sources and the division of space.
Tip — Ensure the proportions are correct, as Hopper’s work relies on precise spatial relationships.
Initial sketching
underpainting
step 02
Apply a thin layer of paint to establish the values and composition. Use a limited palette to map out the light and shadow areas.
Tip — Pay attention to the 'broad masses' of light and shadow, as advised in Source 1.
Monochrome underpainting
first pass
step 03
Begin applying color, starting with the background and large areas. Use complementary colors to neutralize hues and maintain color integrity.
Tip — Avoid adding black to darken colors, as this can cause hue shifts (Source 7).
Color mixing with complements
refining
step 04
Refine the details of the figures and objects. Pay attention to the effects of light on different surfaces, using simultaneous contrast to enhance the vibrancy of colors.
Tip — Observe how adjacent colors affect each other, as described in Source 8.
Simultaneous contrast
finishing
step 05
Add final touches to the faces and hands, ensuring they convey the appropriate mood and character. Check the overall harmony of the composition.
Tip — Ensure the painting remains a 'painted symbol' and does not become a mere deception of reality (Source 2).
Final detailing
critical techniques
Use of Complementary Colors
Hopper likely used complementary colors to darken or lighten hues without shifting them, maintaining the integrity of the light’s effect (Source 7).
Simultaneous Contrast
The artist would have considered how adjacent colors affect each other, enhancing the vibrancy and depth of the painting (Source 8).
Cinematic Lighting
Hopper’s compositional methods were influenced by cinema, leading to dramatic lighting and a focus on isolation (Source 3).
common pitfalls
- →Adding black to darken colors, which can cause unwanted hue shifts (Source 7).
- →Over-modeling or being too tied down to outlines, which can result in a stiff appearance (Source 1).
- →Attempting to deceive the eye into seeing 'real nature' rather than expressing feeling through painted symbols (Source 2).
- →Ignoring the effects of simultaneous contrast, leading to dull or muddy colors (Source 8).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific details of the figures' clothing, facial expressions, and gestures are not described in the sources.
- ·The exact layout of the restaurant interior, including specific objects and decorations, is not detailed.
- ·Hopper’s specific brushwork techniques for *Chop Suey* are not explicitly described.
- ·The exact pigments used by Hopper for this painting are not listed.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- ON COPYING — applied to Underpainting and refining steps, emphasizing the importance of handling broad masses and avoiding over-modeling.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Surface prep and finishing, emphasizing the use of oil paint as a medium for expression rather than mere illusion.
Laws of Contrast of Colour↗
- 315-318 — applied to Critical techniques, explaining simultaneous contrast and its application in painting.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Edward Hopper↗
- part 5 — applied to Composition notes and critical techniques, highlighting the influence of cinema and theatre on Hopper’s work.
Wikipedia: Portrait painting↗
- Portrait painting — part 5 — applied to Underdrawing, noting the use of sketches to establish form and composition.
Wikipedia: Genre painting↗
- Genre painting — part 1 — applied to Overview and composition notes, defining genre painting and its characteristics.
- Genre painting — part 4 — applied to Overview, noting Hopper’s place in the tradition of genre painting.
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Color palette and critical techniques, explaining the use of complementary colors.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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