where can i see edward hopper paintings
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.
In Edward Hopper’s most famous piece, Nighthawks, there are four customers and a waiter, who are in a brightly lit diner at night. It was a piece created during a wartime; and many believe that their disconnect with the waiter, and with the external world, represent the feelings of many Americans during this period, because of the war. The piece was set up in 1942, in the Art Institute of Chicago, and was seen by many people while it was on exhibit for a show.
The best-known of Hopper’s paintings, Nighthawks (1942), is one of his paintings of groups. It shows customers sitting at the counter of an all-night diner. The shapes and diagonals are carefully constructed. The viewpoint is cinematic—from the sidewalk, as if the viewer were approaching the restaurant. The diner’s harsh electric light sets it apart from the dark night outside, enhancing the mood and subtle emotion.  As in many Hopper paintings, the interaction is minimal. The restaurant depicted was inspired by one in Greenwich Village. Both Hopper and his wife posed for the figures, and Jo Hopper gave the painting its title. The inspiration for the picture may have come from Ernest Hemingway’s short story “The Killers”, which Hopper greatly admired,  or from the more philosophical “A Clean, Well-Lighted Place”.  In keeping with the title of his painting, Hopper later said, Nighthawks has more to do with the possibility of predators in the night than with loneliness. 
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:
But therein lies a difference between Hopper’s forlorn subjects and so many of us right now. They choose to live in modernity and find themselves alienated because of it. We choose to simply try to stay alive in the world today and a pandemic that has so far killed more than 36,000 worldwide is keeping us captive. We are not all Edward Hopper paintings now. If only we were so lucky.
True, Hopper’s late-career paintings capture a moodiness and a melancholy that is distinctly of our moment. They often feature affectless individuals looking out windows or staring into the distance, gazing at nothing in particular. They are rendered in drab, un-showy colors, and many art historians have praised them for their atmosphere. (Even if some during the mid-20th century, when Hopper was in his prime, did not: Clement Greenberg, who famously sang the praises of the Abstract Expressionists, once wrote, “Hopper simply happens to be a bad painter.”)
Introduction Edward Hopper (July 22, 1882 – May 15, 1967) was an American realist painter and printmaker. While he is best known for his oil paintings, he was equally proficient as a watercolorist and printmaker in etching. Both in his urban and rural scenes, his spare and finely calculated renderings reflected his personal vision of modern American life. Wikidata Q203401
Introduction Hopper was one of the premier Realist painters of the 1930s and 1940s. In 1900, Hopper studied portrait and still-life painting with William Merritt Chase, but he preferred to take classes with Kenneth Hayes Miller and Robert Henri. In 1906, Hopper worked as a part-time illustrator, but by autumn of that year he went to Paris to study the work of European artists. His painting from this period and soon after reflects the influence of “plein air” painting and Impressionism. Hopper continued to work as an illustrator, garnering more critical and commercial success with it than painting, although he loathed this work. By 1925, Hopper began to develop his signature, where the focus is on only one or two solitary figures often consumed by vast outdoors spaces or cramped city streets. His landscapes also evoke a similar haunting loneliness. One of Hopper’s most well known works is a poignant portrayal of urban alienation, “The Night Hawks” (1942). With the emergence of Abstract Expressionism in the 1940s, Hopper’s work was seen as illustrative and obsolete. Pop Art and PhotoComment on works: realism resurrected his reputation. American artist. Comment on works: realism Nationality American Gender Male Roles Artist, Engraver, Illustrator, Painter Names Edward Hopper, Hopper [rejected] Ulan 500031212
Student 1: Well, it looks like everything is closed, and all the shops and the windows are closed, and it doesn’t look like anybody is on the street.
Edward Hopper, Early Sunday Morning, 1930