where to see edward hopper paintings
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
When he arrived in 1906, Paris was the artistic center of the Western world; no other city was as important for the development of modern art. The move toward abstract painting was already underway; Cubism had begun. There, in 1907, Picasso painted his legendary Les Demoiselles d’Avignon. Hopper, however, later maintained that when he was in Paris he never heard of Picasso, who was to become so important for the development of modern literature. For Hopper, the encounter with Impressionism was decisive. The light in these paintings and the thematic treatment of architecture and nature particularly attracted him and were to influence all of his work. His reaction to the Impressionists is directly reflected in his own art. He forgot the dark, Old Master-like interiors of his New York student days, when he was influenced mainly by the great European artists – Johannes Vermeer, Caravaggio, Rembrandt, and Diego Velazquez. The influence of Impressionists, such as Monet, Cezanne, and Van Gogh is directly reflected in his own art. His palette lit up and he began to paint with light and quick strokes. Even in 1962, he could say, “I think I’m still an Impressionist.”
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.
A quintessential American realist, Hopper painted a repertoire of subjects ranging from the lighthouses and Victorian manses of the New England coast to the movie houses, offices, cafeterias, and highways of New York City. Hopper was associated with the Ash Can artists early in his career; he studied with Robert Henri at the New York School of Art from 1900 to 1906 and greatly admired John Sloan’s etchings of New York City. In the 1920s he achieved recognition with his architectural paintings in which light is used dramatically to characterize his subjects. Whether depicting daylight scenes or nocturnal environments, his paintings have an introspective, contemplative aura that is enhanced by his frequent use of solitary figures set against blank walls. Mood was as important to Hopper as subject, as the statement he wrote for the catalogue of his 1933 retrospective at the Museum of Modern Art makes clear: “My aim in painting has always been the most exact transcription possible of my most intimate impressions of nature.”
Virginia M. Mecklenburg Modern American Realism: The Sara Roby Foundation Collection (Washington, D.C.: Smithsonian Institution Press for the National Museum of American Art, 1987)
The windows of Hopper’s second-floor bedroom face the Hudson River, a short walk from the house. Even with the hellish traffic caused by the upgrading of the Tappan Zee Bridge (an eyesore under normal circumstances), it is not hard understanding Hopper’s earliest inspiration. In the center of the room sits the Center’s most recent acquisition: a large table that Hopper made himself. A New York University staff member rescued the table from the trash outside of Hopper’s studio following the death of his wife, Josephine, in 1968. Tables weren’t the only things that Hopper built.
Edward Hopper’s work can be gazed upon all over New York City and throughout the ti-state area, from the Metropolitan Museum of Art to the Whitney Museum of American Art, the Brooklyn Museum, Hartford’s Wadsworth Athenaeum, the Princeton University Gallery, the Yale University Art Gallery, and the MoMA. But two places are particularly integral to understanding his work: his Westchester County childhood home and his New York City studio.
In his early self-portraits, Hopper tended to represent himself as skinny, ungraceful, and homely. Though a tall and quiet teenager, his prankish sense of humor found outlet in his art, sometimes in depictions of immigrants or of women dominating men in comic situations. Later in life, he mostly depicted women as the figures in his paintings. In high school, he dreamed of being a naval architect, but after graduation he declared his intention to follow an art career. Hopper’s parents insisted that he study commercial art to have a reliable means of income. In developing his self-image and individualistic philosophy of life, Hopper was influenced by the writings of Ralph Waldo Emerson. He later said, “I admire him greatly. I read him over and over again.”
In 1924, at age of 41, Hopper married Josephine (Jo) Nivison, whom he had met years earlier as an art student of Robert Henri. From that time on she became his primary model and most ardent supporter. In that same year he had a solo exhibition of watercolors at the Frank K. M. Rehn Gallery in New York. The show sold out and the Rehn Gallery continued to represent him for the rest of his life. This success enabled Hopper to finally give up illustrating. Over the next several years, Hopper’s painting style matured and his signature iconography emerged – from isolated figures in public or private interiors, to sun-soaked architecture, silent streets, and coastal scenes with lighthouses. In 1930, House by the Railroad (1925) became the first painting accessioned to the permanent collection of the newly founded Museum of Modern Art. The early 1930s were, indeed, a period of great success for Hopper, with sales to major museums and in 1933, a retrospective at the Museum of Modern Art.