I haven’t seen “Edward Hopper: A Fresh Look at Landscape,” a large show at the lately reopened Beyeler Foundation, Switzerland’s premier museum of modern art, outside Basel.
Once you’ve seen a Hopper, it stays seen, lodged in your mind’s eye.
Hopper imported, or smuggled, some emotive powers of European traditions to unforgiving American soil.
Hitchcock, learning American experience from scratch after immigrating to Hollywood in 1939, at the age of thirty-nine, acknowledged the influence.
The Bates house in “Psycho” reproduces, with simplifications, the already suitably ominous Victorian in Hopper’s “House by the Railroad” (1925).

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