Edward Hopper

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Hopper, Edward,

1882–1967, American painter and engraver, b. Nyack, N.Y., studied in New York City with Robert HenriHenri, Robert
, 1865–1929, American painter and teacher, b. Cincinnati as Robert Henry Cozad. He studied at the Pennsylvania Academy of the Fine Arts. In 1888 he went to Paris, where he worked at Julian's and the Beaux-Arts until, dissatisfied with the schools, he set up
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. Hopper lived in France for a year but was little influenced by the artistic currents there. His early paintings had slight success; he gained a reputation, however, through his etchings, which remain popular. The first one-man show of his paintings was held in 1920. Hopper excelled in creating realistic pictures of clear-cut, sunlit streets and houses, often without figures. In his paintings there is a frequent atmosphere of loneliness, an almost menacing starkness, and a clear sense of time of day or night. His work in oil and watercolor is slowly and carefully painted, with light and shade used for pattern rather than for modeling. Hopper is represented in many leading American museums. Early Sunday Morning (1930; Whitney Museum, N.Y.C.) and Nighthawks (1942; Art Institute of Chicago) are characteristic oils.


See catalogue raisonné ed. by G. Levin (1995); catalog by L. Goodrich (1971); biographies by R. Hobbs (1987) and G. Levin (1995, repr. 2007); studies by L. Goodrich (1971), G. Levin (1981, repr. 1986), S. Wagstaff et al. (2004), C. Troyen et al. (2007), and O. Westheider and M. Philipp, ed. (2d ed., 2011).

Hopper, Edward

(1882–1967) painter; born in Nyack, N.Y. He studied under Robert Henri (1900–06) and traveled in Europe (1906–10), but his etchings, watercolors, and oils over the next 50 years would reflect little of the current art trends. He supported himself as a commercial illustrator until recognition in the mid-1920s. His vision of realism, using moody light and buildings, created a world of human isolation, as in such famous paintings as Early Sunday Morning (1930) and Night Hawks (1942).
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(3.) Edward Hopper. https://en.wikipedia.org/wiki/Edward_Hopper (Accessed February 2017).
The Whitney Museum has a wide array of Edward Hopper (1882-1967) canvases thanks to a bequest by Hopper's widow, Josephine.
In the collection's final poem, "Edward Hopper: Outside the Frame," Stone imagines her family as part of the artist's paintings "The Bootleggers" and "Tables for Ladies." It's as if only by placing them within the confines of these frames will the poet finally be able to lay her family to rest.
MUSEUM CONNECTION You've taken a look at Edward Hopper's painting Cape Cod Morning from the collection of the Smithsonian American Art Museum.
The lighting was designed by George Sexton, III and inspired by Edward Hopper's well-known painting Nighthawks at the Diner.
Like Edward Hopper, who ignored the seismic contemporary art movements of his lifetime, Jacklin has been paintbrushing representational urban peoplescapes for the greater part of his 27 years here--works infused with a kindhearted curiosity and childlike transcendency.
Among the artists represented in the exhibition are Mark Rothko, Jackson Pollock, Andy Warhol, and Edward Hopper.
Some of his earlier works were suggestive of Edward Hopper, and in his most recent exhibition, that influence was even more evident, especially in the canvases depicting industrial buildings in vast landscapes with low horizons that contrast with the vertical and visually invasive structures.
Both works are inspired by famous American icons, realist artist Edward Hopper and playwright Eugene O'Neill.
Edward Hopper's Maine packs in over a hundred color illustrations gathering Hopper's many images of Maine's lighthouses, towns and cast.
An audience favorite was the solo adult dancer Nay Samadi, who danced to Edward Hopper's Automat (1927).