what style of art is edward hopper
Regardless of the reality of the purpose of the painting, Hopper was successful in his attempt at using his style of bringing the familiarity of everyday situations to allow the viewers to make a conclusion. We are therefore able to question the endless possibilities because of the fact that we are so familiar. If Hopper were to use scenarios present only in oblivion, our thoughts might be a little more scattered because we may not be as rational as we are with his works.
For instance, in the 1921 “Night Shadows”, the painting itself is very cartoonish but the scene itself is more than common within our society. The painting seems like a sketch but the use of the contrasting colors white and black brings immediate attention to what seems to be a very shady man in the middle of a vacant street corner. The contrasting color of white is used in between the darkness of black to isolate the man, making him the obvious focal point. He is overpowered by the shadow of a streetlight but again, the reason why the streetlight is towering over him is not because the streetlight is of impossible disproportional measures but because our position as the critic of this particular scene is from an elevated height. So again, Hopper sticks to reality which is by using contrasting colors and different angles to bring definition to what is already present. The familiarity the viewers have with the scenario of seeing a strange man during a strange time of day, allows us to conclude that their is an abnormality with his presence. We put his small stature, which is again because of our great height with the colors used and with the towering shadow of the streetlight that dominates him, to create a conclusion that this man might be up to no good. Our understanding that resulted from this familiarity allows us to further analyze his physical use of angles, shades, and his coloring style. I personally thought he seemed sketchy from his isolation so I figured Hopper intended to use the sketch style to hint at the focal point’s “sketchy” behavior.
Between the 1930s and 1950s, Edward Hopper and his wife spent quite a bit of time, and most of their summers, visiting Cape Cod, Massachusetts. In many of the works that Hopper created during this period, many of the scenes, the common locations, and nearby attractions which they visited, were often seen in the art forms that he created during his career. He also started to travel further out, and visited regions from Vermont out to Charleston, in order to add more new points of interest to his collection, and to broaden the works and the locations which he would include in many of the images that he created over the course of his career.
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.
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).
Decade of Struggle
Significant paintings by Hopper hang in the Whitney Museum of American Art, the Museum of Modern Art in New York, The Des Moines Art Center, the Art Institute of Chicago, and in public and private collections around the world.
After graduating in 1899, Hopper briefly participated in a correspondence course in illustration before enrolling at the New York School of Art and Design, where he studied with teachers such as impressionist William Merritt Chase and Robert Henri of the so-called Ashcan School, a movement that stressed realism in both form and content.
Edward Hopper was born on July 22, 1882, in Nyack, New York, a small shipbuilding community on the Hudson River. The younger of two children in an educated middle-class family, Hopper was encouraged in his intellectual and artistic pursuits and by the age of 5 was already exhibiting a natural talent. He continued to develop his abilities during grammar school and high school, working in a range of media and forming an early love for impressionism and pastoral subject matter. Among his earliest signed works is an 1895 oil painting of a rowboat. Before deciding to pursue his future in fine art, Hopper imagined a career as a nautical architect.