Foster writes: "Artist Philip Koch, who has spent time in the Hopper's former house making his own work, shared these illuminating thoughts about the difference between the painting and the views from and inside the house. 'A comparison of Hopper's inventive vision and the actual "facts" of the studio's architecture is revealing. Hopper's famous oil contrasts the open waves of Cape Cod Bay directly agains the doorway. To heighten the contrast, he places a big blast of sunlight on the empty wall and darkens down the water. It works beautifully.
But to get to this, he had to move the wooden dutch (sic) door to hinges on the opposite side of the doorframe. Then he widened the white wall. And best of all, he has the sunlight shining on a wall it never hits in reality. The view is looking south, and the empty wall faces due north.
In his most daring move, he eliminates the land between the studio and the water, lending the painting a delicious surreal quality. I used to wonder about this lovely but odd placement before I ever had visited the studio. But I found that when one sits in a chair at the far end of the studio away from the water (which is where Hopper usually placed his easel when he worked) that his viewpoint was low enough to the ground he would have seen the doorway seeming to lead directly out into the water. So the oddness of the painting's composition actually stems from something he saw. He just had the sense to take advantage of it.'"