Edward Hopper  

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Edward Hopper (July 22, 1882May 15, 1967) was an American painter and printmaker best remembered for his eerily realistic depictions of solitude in contemporary American life. While most popularly known for his oil paintings, he was equally proficient as a watercolorist and printmaker in etching.

Place in American art

In focusing primarily on quiet moments, very rarely showing action, Hopper employed a form of realism adopted by another leading American realist Andrew Wyeth, but Hopper’s technique was completely different from Wyeth’s hyper-detailed style. In league with some of his contemporaries, Hopper shared his urban sensibility with John Sloan and George Bellows but avoided their overt action and violence. Where Joseph Stella and Georgia O’Keeffe glamorized the monumental structures of the city, Hopper reduced them to everyday geometrics and he depicted the pulse of the city as desolate and dangerous rather than “elegant or seductive”.

Charles Burchfield, whom Hopper admired and whom he was compared to, said of Hopper, “he achieves such a complete verity that you can read into his interpretations of houses and conceptions of New York life any human implications you wish.” He also attributed Hopper’s success to his “bold individualism…In him we have regained that sturdy American independence which Thomas Eakins gave us, but which for a time was lost.”

Though compared to his contemporary Norman Rockwell in terms of subject matter, Hopper didn’t like the comparison. Hopper considered himself more subtle, less illustrative, and certainly not sentimental. When his wife 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.” He also rejected comparisons with Grant Wood and Thomas Hart Benton stating “I think the American Scene painters caricatured America. I always wanted to do myself.”




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