A few years later, Edward Hopper found his career had taken a turn for the better, and he was doing well in sales, and financially with the works he had created. He was invited to do a second one person exhibit, to feature new works, and to create a buzz about the work he had created in recent years. The Frank KM Rehn Gallery in NYC, was where this second exhibit took place, and it received far more attention and a much larger crowd, due to the location where the exhibit was taking place, and also because of the fact that more people were now aware of the works Edward Hopper had created.
At the age of 37, Edward Hopper received his first open invitation to do a one person exhibit, featuring some of this finest pieces of art. 16 pieces of his work were shown at the Whitney Club, and although none of the pieces were sold at this exhibit, it did point his career in a new direction, it got his art work out to the general public, and he became a more notable name in the type of work and the art forms which he most wanted to focus his career on, for the future works he would create.
The person who visualised the acute alienation she felt was the American realist painter Edward Hopper – despite the fact that he died over half a century ago and lived in an entirely different era of history.
Another reason why Hopper is a celebrated artist is that his work embodies tranquillity, quiet and stillness. A known depressive for most of his life, his works speak to the inner-worlds of many people who might be struggling with mental health issues, a particularly pertinent issue during this crisis.
Edward Hopper, (born July 22, 1882, Nyack, N.Y., U.S.—died May 15, 1967, New York City), American painter whose realistic depictions of everyday urban scenes shock the viewer into recognition of the strangeness of familiar surroundings. He strongly influenced the Pop art and New Realist painters of the 1960s and 1970s.
Hopper was initially trained as an illustrator, but, between 1901 and 1906, he studied painting under Robert Henri, a member of a group of painters called the Ashcan School. Hopper travelled to Europe three times between 1906 and 1910, but he remained untouched by the experimental work then blossoming in France and continued throughout his career to follow his own artistic course. Although he exhibited paintings in the Armory Show of 1913, he devoted most of his time to advertising art and illustrative etchings until 1924. He then began to do such watercolours as Model Reading (1925), as well as oil paintings. Like the painters of the Ashcan School, Hopper painted the commonplaces of urban life. But, unlike their loosely organized, vivacious paintings, his House by the Railroad (1925) and Room in Brooklyn (1932) show still, anonymous figures and stern geometric forms within snapshot-like compositions that create an inescapable sense of loneliness. This isolation of his subjects was heightened by Hopper’s characteristic use of light to insulate persons and objects in space, whether in the harsh morning light ( Early Sunday Morning, 1930) or the eerie light of an all-night coffee stand ( Nighthawks, 1942).
Josephine was instrumental in Hopper’s transition from oils to watercolors and shared her art-world connections with him. These connections soon led to a one-man exhibition for Hopper at the Rehn Gallery, during which all of his watercolors were sold. The success of the show allowed Hopper to quit his illustration work for good and marked the beginning of a lifelong association between Hopper and the Rehn.
Three years later, while summering in Massachusetts, Hopper became reacquainted with Josephine Nivison, a former classmate of his who was herself a fairly successful painter. The two were married in 1924 and quickly became inseparable, often working together and influencing each other’s styles. Josephine also jealously insisted that she be the sole model for any future paintings featuring women and so inhabits much of Hopper’s work from that time forward.
In 2010, the Fondation de l’Hermitage museum in Lausanne, Switzerland, held an exhibition that covered Hopper’s entire career, with works drawn largely from the Whitney Museum in New York City. It included paintings, watercolors, etchings, cartoons, posters, as well as some of the preparatory studies for selected paintings. The exhibition had previously been seen in Milan and Rome. In 2011, The Whitney Museum of American Art held an exhibition called Edward Hopper and His Times.
Hopper fared better than many other artists during the Great Depression. His stature took a sharp rise in 1931 when major museums, including the Whitney Museum of American Art and the Metropolitan Museum of Art, paid thousands of dollars for his works. He sold 30 paintings that year, including 13 watercolors.  The following year he participated in the first Whitney Annual, and he continued to exhibit in every annual at the museum for the rest of his life.  In 1933, the Museum of Modern Art gave Hopper his first large-scale retrospective.