what was art style edward hopper
After his second trip, he painted Summer Interior (1909), a brooding, intimate work possibly derived from the more daring Interior, by Edgar Degas, it features the first use of a compositional device he would employ many times in the future – a patch of light intruding into the human world of a room. Other works containing this device include Excursion into Philosophy, A Woman in the Sun, and Rooms by the Sea. The treatment of light and colour, in particular its effect on the mood of the painting, would become a lifelong focus for Hopper.
For analysis of works by realist genre painters like Edward Hopper,
please see: Analysis of Modern Paintings (1800-2000).
In 1923, Edward Hopper married a fellow student who attended the NY Academy where he got his education, Josephine Nivision. Not only did she pose for nearly half of the female figure pieces which he created during his career, she also encouraged and pushed him to engage in different art forms during his career as well. She pushed him to work with water colors, and she kept records of all the pieces he designed, the exhibits he was to be a part of, and all of the sales of the pieces which were made, during these exhibits in which his work was presented.
Edward Hopper was born in 1882, in NY, into a middle class family. From 1900 to 1906 he studied at the NY School of Art, and while in school, shifted from illustration to works of fine art. Upon completing his schooling, he worked as an illustrator for a short period of time; once this career path ended, he made three international trips, which had a great influence on the future of his work, and the type of art he would engage in during the course of his career. He made three trips to Europe between 1906 and 1910. In retrospect, Europe meant France, and more specifically, Paris, for Edward Hopper. This city , its architecture, light, and art tradition, decisively affected his development.
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.
Today in class, we viewed various paintings from Edward Hopper’s vast collection in which he depicts real life moments. I immediately noticed that he didn’t do a lot of meddling with the scene itself. He painted it as it is but of course, as many painters do, highlighted focal points through his color choices and the contours of the image itself. While these scenes might not have occurred, the viewer can witness these images all around them and is therefore able to use the relatable surroundings to bring meaning to the focal point of the painting.
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).
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.
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.