why is hopper your favorite artist
In 1933, Edward Hopper received further praises for the works he had done, and for a piece that was on exhibit at the Museum of Modern Art. His highly identifiable style, and mature painting styles, were some things he had become known for during this period. The gorgeous landscapes, the quiet rooms and empty rooms he designed, and the transitory effect which many of his works posed, created a sense of contemporary life and a new style, which many in the art world recognized, and many praised him for this distinct style he had created in his art forms.
Later in his career, many of his works were displayed in various exhibits, namely at the Whitney Museum, which was located in New York City. Later in his career, during the 1940s, was a period in which he found the most commercial success. But, soon after, and even during this time period, he began losing critical favors. This was namely due to the new forms of art, and the fact that abstract pieces were beginning to enter the art world, which took over the work he did, as well as the work of many famous artists prior to him.
The artist had demonstrated his ability to transfer his attraction to Parisian architecture to American urban and rural architecture. According to Boston Museum of Fine Arts curator Carol Troyen, “Hopper really liked the way these houses, with their turrets and towers and porches and mansard roofs and ornament cast wonderful shadows. He always said that his favorite thing was painting sunlight on the side of a house.” 
At forty-one, Hopper received further recognition for his work. He continued to harbor bitterness about his career, later turning down appearances and awards.  With his financial stability secured by steady sales, Hopper would live a simple, stable life and continue creating art in his personal style for four more decades.
Having completed his studies, in 1905 Hopper found work as an illustrator for an advertising agency. Although he found the work creatively stifling and unfulfilling, it would be the primary means by which he would support himself while continuing to create his own art. He was also able to make several trips abroad—to Paris in 1906, 1909 and 1910 as well as Spain in 1910—experiences that proved pivotal in the shaping of his personal style. Despite the rising popularity of such abstract movements as cubism and fauvism in Europe, Hopper was most taken by the works of the impressionists, particularly those of Claude Monet and Edouard Manet, whose use of light would have a lasting influence on Hopper’s art. Some works from this period include his Bridge in Paris (1906), Louvre and Boat Landing (1907) and Summer Interior (1909).
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.
Artist Chin H Shin is an American realist painter whose work has been centered on New York City landscapes for the past several years. Like Hopper, he finds himself fascinated with the street scenes of daily life, breaking them down into technicalities of light and color.
Hopper discovered that – even when others love us very much – some essential part of us is always alone.
Automat is a picture of sadness – and yet it is not a sad picture. There can be something enticing, even charming, about anonymous diners. The lack of domesticity, the bright lights and anonymous furniture offer a relief from what can be the false comforts of home. It may be easier to give way to sadness here than in a cosy living room with wallpaper and framed photos. Home often appears to have betrayed Hopper’s characters; something has happened there that forces them out into the night and onto the road. The twenty-four-hour diner, the train station waiting room or motel are sanctuaries for those who have, for sound reasons, failed to find a place in the ordinary world of relationships and community.