what kind of art does edward hopper make
Hopper’s rural scenes are equally evocative. The House by the Railroad (1925) presents the spectacle of an extravagant isolated house (it could be a hotel) standing outlined against a clear evening sky, next to the railway track running from left to right. It sticks out like a forlorn anachronism, as if life is passing it by. His famous painting Gas (1940) alludes to the isolation of night-travellers with its solitary figure and lonely road.
Accordingly, in 1899, after graduating from high school, he began his art studies at the Correspondence School of Illustrating in New York City. However, the following year he transferred to the prestigious New York Institute of Art and Design in Manhattan (the Chase school), where he studied under two radically different teachers: William Merritt Chase (1849-1916), a disciple of the Impressionist John Singer Sargent (1856-1924) who instructed him in oil painting, and Robert Henri (1869-1929), one of the pioneers of American Realism, and the founder of the stark Ashcan School of realist painting, who taught the life class. According to one contemporary student: Chase promoted “art for art’s sake”, while Henri promoted “art for life’s sake” advising pupils to “forget about art and paint what interests you in life“. Hopper himself responded far more strongly to Henri’s radical ideas, but still maintained a relatively independent and aloof approach. At the school, his talents were rewarded with numerous prizes. His earliest surviving oil painting with echoes of his later famous interiors was Solitary Figure in a Theater (c.1904). During his time at the school, he also completed dozens of nudes, portraits and figurative compositions, along with a range of still life and landscape pictures.
Later in his career, many of his works were displayed in various exhibits, namely at the Whitney Museum, which was located in New York City. Later in his career, during the 1940s, was a period in which he found the most commercial success. But, soon after, and even during this time period, he began losing critical favors. This was namely due to the new forms of art, and the fact that abstract pieces were beginning to enter the art world, which took over the work he did, as well as the work of many famous artists prior to him.
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.
His parents were not wealthy people. They thought Edward should learn to paint and make prints to advertise for businesses. This kind of painting is called commercial art. Edward listened to his mother and father. In nineteen hundred, he moved to New York City to study commercial art. However, he also studied more serious and artistic kinds of painting.
SHIRLEY GRIFFITH: I’m Shirley Griffith.
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).
Painting will have to deal more fully and less obliquely with life and nature’s phenomena before it can again become great. 
The tendency to read thematic or narrative content into Hopper’s paintings, that Hopper had not intended, extended even to his wife. When Jo Hopper commented on the figure in Cape Cod Morning “It’s a woman looking out to see if the weather’s good enough to hang out her wash,” Hopper retorted, “Did I say that? You’re making it Norman Rockwell. From my point of view she’s just looking out the window.”  Another example of the same phenomenon is recorded in a 1948 article in Time: