Dez milhões por dia precisa a «loisa» chamada Estado para repor na Segurança Social. Pagar integralmente a dívida impõe milhares de milhões. Ao longo do tempo, o Estado arrebanhou aos trabalhadores os impostos devidos e nada depositou na instituição. Cumprindo um ano sobre a «manif» da “Geração à Rasca”, à rasca estão todas as gerações presentes e vindouras.
CAFÉ DA MANHÃ
Nota introdutória - “Realista imaginativo, Edward Hopper retratou com subjetividade a solidão urbana e a estagnação do homem causando ao observador um impacto psicológico. A obra de Hopper sofreu forte influência dos estudos psicológicos de Freud e da teoria intuicionista de Bergson, que buscavam uma compreensão subjectiva do homem e de seus problemas. O tema das pinturas de Hopper são as paisagens urbanas, porém, desertas, melancólicas e iluminadas por uma luz estranha. "Os edifícios, geralmente enormes e vazios, assumem um aspecto inquietante e a cena parece ser dominada por um silêncio perturbador". (Proença, 1990, p. 165). Obras de estilo realista imaginativo. Arte individualista, embora com temas identificados aos da Ash-can School. Expressão de solidão, vazio, desolação e estagnação da vida humana, expresso pelas figuras anónimas que jamais se comunicam. Pinturas que evocam silêncio, reserva, com um tratamento suave, exercendo frequentemente forte impacto psicológico. Semelhança com a pintura metafísica.”
Always reluctant to discuss himself and his art, Hopper simply summed up his art by stating,
“The whole answer is there on the canvas.”
Hopper was stoic and fatalistic—a quiet introverted man with a gentle sense of humor and a frank manner. Conservative in politics and social matters, he accepted things as they were and displayed a lack of idealism. Cultured and sophisticated, he was well-read, and many of his paintings show figures reading. He was generally good company and unperturbed by silences, though sometimes taciturn, grumpy or detached. He was always serious about his art and the art of others, and when asked would return frank opinions.
Hopper's most systematic declaration of his philosophy as an artist was given in a handwritten note, titled "Statement", submitted in 1953 to the journal, Reality:
“ Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world. No amount of skillful invention can replace the essential element of imagination. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the human intellect for a private imaginative conception. The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form and design.
The term life used in art is something not to be held in contempt, for it implies all of existence and the province of art is to react to it and not to shun it.
Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great.”
Though Hopper claimed that he didn’t consciously embed psychological meaning in his paintings, he was deeply interested in Freud and the power of the subconscious mind. He wrote in 1939, “So much of every art is an expression of the subconscious that it seems to me most of all the important qualities are put there unconsciously, and little of importance by the conscious intellect.”