what type of subject matter did american scene painter edward hopper depict in this painting
In 2007, an exhibition focused on the period of Hopper’s greatest achievements—from about 1925 to mid-century—and was presented at the Museum of Fine Arts, Boston. The exhibit comprised fifty oil paintings, thirty watercolors, and twelve prints, including the favorites Nighthawks, Chop Suey, and Lighthouse and Buildings. The exhibition was organized by the Museum of Fine Arts, Boston, the National Gallery of Art, Washington, and the Art Institute of Chicago and sponsored by the global management consulting firm Booz Allen Hamilton.
Other works based on or inspired by Hopper’s paintings include Tom Waits’ 1975 album Nighthawks at the Diner, and a 2012 series of photographs by Gail Albert Halaban.  
Then came the famous New York Armory Show of 1913, otherwise known as the International Exhibition of Modern Art. This art show attracted huge numbers of visitors (between 250,000 and 300,000 saw the show) and no little controversy. European 20th century modern art, which made up the largest section of the show, was too abstract and too unconventional for most Americans, and angry crowds threatened to burn some of the more extreme examples. The organizers of the show were the Association of American Painters and Sculptors, whose plan was to showcase works by contemporary American artists, using famous-named European painters as a lure. In this, they were quite successful, even if the main spotlight remained firmly on the controversial Europeans.
Although Ashcan School painters depict the authentic feel of 1900s New York City, with its drunks, prostitutes, crowded tenements, boxing rings, and bars, they were much less unconventional than they appeared. Brought up in the 19th century, rather than the 20th century, they focused more on the picturesque aspects of their canvases than the social issues they raised. These Ashcan School painters were important forerunners of American Scene Painting.
Whatever his precise outlook, he remained steadfast in his realist approach, even when the new post-war American Abstraction movement made him appear old fashioned and out of touch. Indeed, if it is true that “every picture tells a story”, one feels that Hopper’s simple but unique genre-paintings will continue to be meaningful long after the intellectual modernism of Jackson Pollock, Mark Rothko and later contemporary artists, has faded into history. Many of Hopper’s paintings are available as prints in the form of poster art.
Not unlike a stage or film director, Hopper employed a wide range of scene sets. Where people (in effect, his “characters”) were involved, he arranged them with the utmost care.
Like Courbet, Jean-François Millet also opted to feature working class people in his paintings. As he was based in rural France, he repeatedly returned to farmers as his subject-of-choice. “Peasant subjects suit my nature best,” he said, “for I must confess . . . that the human side is what touches me most in art.”
“When you look at it,” he remarked about his ordinary subject matter, “and above all, when you see how to render it as you see it, thats is, in such a way that its make the same impression on the viewer as it does on you.”
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).
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.