Edward Hopper
Edward Hopper (July 22, 1882 – May 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.
Life
Born in Nyack, New York to a prosperous dry-goods merchant, Hopper studied commercial art and painting in New York City. One of his teachers, artist Robert Henri, encouraged his students to use their art to "make a stir in the world". Henri, an influence on Hopper, motivated students to render realistic depictions of urban life. Henri's students, many of whom developed into important artists, became known as the Ashcan School of American art.
Upon completing his formal education, Hopper made three trips to Europe to study the emerging art scene there, but unlike many of his contemporaries who imitated the abstract cubist experiments, the idealism of the realist painters resonated with Hopper. His early projects reflect the realist influence. Eschewing the usual New England subjects of seascapes or boats, Hopper was attracted to Victorian architecture, although it was no longer in fashion. According to Boston Museum of Fine Arts curator Carol Troyen, "He 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." [1] While he worked for several years as a commercial artist, Hopper continued painting.
According to Troyen, Hopper's "breakthrough work" was The Mansard Roof, painted in 1923 during Hopper's first summer in Gloucester, MA. "For the 10 years previous, he hadn't sold a single painting," according to Troyen. His former art school classmate and later wife, Josephine Nivison Hopper, suggested he enter it in the Brooklyn Museum annual watercolor show, along with some other paintings. The Mansard Roof was purchased by the museum for its permanent collection, for the sum of $100. [1]
In 1925 he produced House by the Railroad, a classic work that marks his artistic maturity. The piece is the first of a series of stark urban and rural scenes that uses sharp lines and large shapes, played upon by unusual lighting to capture the lonely mood of his subjects. He derived his subject matter from the common features of American life — gas stations, motels, the railroad, or an empty street.
Hopper continued to paint in his old age, dividing his time between New York City and Truro, Massachusetts. He died in 1967, in his studio near Washington Square, in New York City. His wife, painter Josephine Nivison, who died 10 months later, bequeathed his work to the Whitney Museum of American Art. Other significant paintings by Hopper are at the Museum of Modern Art in New York, The Des Moines Art Center, and the Art Institute of Chicago.
Works
Themes
The best known of Hopper's paintings, Nighthawks (1942), shows customers sitting at the counter of an all-night diner. The diner's harsh electric light sets it apart from the gentle night outside. The diners, seated at stools around the counter, appear isolated.
Hopper's rural New England scenes, such as Gas (1940), are no less meaningful. In terms of subject matter, he can be compared to his contemporary, Norman Rockwell, but while Rockwell exulted in the rich imagery of small-town America, Hopper depicts it in the same sense of forlorn solitude that permeates his portrayal of city life. Here too, Hopper's work exploits vast empty spaces, represented by a lonely gas station astride an empty country road and the sharp contrast between the natural light of the sky, moderated by the lush forest, and glaring artificial light coming from inside the gas station.
Selected works
Chief works of Edward Hopper (oil on canvas unless otherwise noted):
title | date | collection | themes | photos |
---|---|---|---|---|
Painter and Model | 1902-1904 | Whitney Museum of American Art | painter, woman, nude, canvas | |
Bridge in Paris | 1906 | Whitney Museum of American Art | Paris, bridge | |
Le Pont des Arts | 1907 | Whitney Museum of American Art | Seine, bridge, Louvre | [1] |
Après-midi de juin | 1907 | Whitney Museum of American Art | Louvre, Seine, bridge | |
Les lavoirs à Pont Royal | 1907 | Whitney Museum of American Art | Seine, wash-house, bridge | |
Louvre and Boat Landing | 1907 | Whitney Museum of American Art | Louvre, Seine, pier | |
The El Station | 1908 | Whitney Museum of American Art | station, tracks | [2] |
Summer Interior | 1909 | Whitney Museum of American Art | woman, room, bed, nude | [3] |
The Louvre in a Thunderstorm |
1909 | Whitney Museum of American Art | Louvre, Seine, bridge, boats | |
Le Pont Royal | 1909 | Whitney Museum of American Art | Louvre, Seine, bridge | |
Le Quai des Grands Augustins | 1909 | Whitney Museum of American Art | bridge, street, building | |
Le pavillon de Flore | 1909 | Whitney Museum of American Art | Louvre, Seine | |
The Wine Shop | 1909 | Whitney Museum of American Art | bistro, bridge, couple | |
American Village | 1912 | Whitney Museum of American Art | street, house, cars | |
Squam Light | 1912 | lighthouse, houses, boats | ||
Queensborough Bridge | 1913 | Whitney Museum of American Art | New York, bridge | [4] |
Soir bleu | 1914 | Whitney Museum of American Art | clown, couple, woman, cigarettes | |
Road in Maine | 1914 | Whitney Museum of American Art | Maine, nature, road | [5] |
Blackhead, Monhegan | 1916-1919 | Whitney Museum of American Art | Maine, landscape, sea | [6] |
Stairways | 1919 | Whitney Museum of American Art | stairs, door, woods | |
Night Shadows (etching) | 1921 | Museum of Modern Art | man, street, night, building | [7] |
The New York Restaurant | c. 1922 | Muskegon Art Museum Michigan |
restaurant, couple, woman | [8] |
Railroad Crossing | 1922-1923 | Whitney Museum of American Art | train tracks, road, house, woods | |
The Mansard Roof (watercolor) | 1923 | Brooklyn Museum | house, trees | [9] |
House by the Railroad | 1925 | Museum of Modern Art | train tracks, house | [10] |
Self-Portrait | 1925-1930 | Whitney Museum of American Art | self-portrait | [11] |
Sunday | 1926 | Phillips Collection Washingon, D.C. |
man, street, buildings | [12] |
Drug Store | 1927 | Museum of Fine Arts, Boston | pharmacy, night, street | [13] |
Lighthouse Hill | 1927 | Dallas Museum of Art | lighthouse, house, hill | [14] |
Coast Guard Station | 1927 | Montclair Art Museum | house | |
Automat | 1927 | Des Moines Art Center | woman, café, window, night, fruit, radiator |
[15] |
The City | 1927 | University of Arizona Museum of Art | city, streets, buildings | [16] |
Night Windows | 1928 | Museum of Modern Art | night, window, woman, building |
[17] |
Manhattan Bridge Loop | 1928 | Addison Gallery of American Art |
New York, tracks, lamp-post | |
Railroad Sunset | 1929 | Whitney Museum of American Art | train tracks, landscape, twilight | [18] |
The Lighthouse at Two Lights | 1929 | Metropolitan Museum of Art | lighthouse, house | [19] |
Chop Suey | 1929 | Barney A. Ebsworth Collection | café, women, couple, windows, sign |
[20] |
Early Sunday Morning | 1930 | Whitney Museum of American Art | street, buildings, street furniture |
[21] |
Tables for Ladies | 1930 | Metropolitan Museum of Art | restaurant, women, couple, fruits | |
Corn Hill (Truro, Cape Cod) |
1930 | McNay Art Institute, San Antonio |
houses, hills | [22] |
Cobb's Barns, South Truro | 1930-1933 | Whitney Museum of American Art | barn, landscape, hills | |
New York, New Haven and Hartford |
1931 | Indianapolis Museum of Art | train tracks, houses, trees | |
Hotel Room | 1931 | Fondation Thyssen-Bornemisza | hotel, room, bed, woman, reading |
[23] |
Dauphinée House | 1932 | ACA Galleries | train tracks, house | |
Room in New York | 1932 | Sheldon Memorial Art Gallery and Sculpture Garden |
hotel, couple, reading | [24] |
House at Dusk | 1935 | Virginia Museum of Fine Arts | building, woman, trees, stairs, sea |
[25] |
The Long Leg | 1935 | The Huntington Library Collection | sailboat, sea, dunes, lighthouse |
[26] |
Macomb's Dam Bridge | 1935 | Brooklyn Museum | bridge, river, city, buildings | |
The Circle Theater | 1936 | Private collection | theatre, street, building, street furniture |
[27] |
Cape Cod Afternoon | 1936 | Museum of Art, Carnegie Institute |
Cape Cod, houses | [28] |
Compartiment C, Car 193 |
1938 | IBM Corporation Collection | train, woman, reading, bridge | [29] |
New York Movie | 1939 | Museum of Modern Art | New York, cinema, woman, staircase |
[30] |
Cape Cod Evening | 1939 | National Gallery of Art, Washington, D.C. |
Cape Cod, couple, dog, house, woods | [31] |
Ground Swell | 1939 | Corcoran Gallery of Art | boat, sea, swell, woman, men |
[32] |
Gas | 1940 | Museum of Modern Art | gas station, man, woods, road | [33] |
Office at Night | 1940 | Walker Art Center (Minneapolis) | desk, woman, man, window | [34] |
Nighthawks | 1942 | Art Institute of Chicago | bar, woman, men, night, street |
[35] |
Dawn in Pennsylvania | Terra Museum of American Art |
train tracks, train, buildings | ||
Hotel Lobby | 1943 | Indianapolis Museum of Art | hotel, couple, woman, reading | [36] |
Summer | 1943 | Delaware Art Museum | woman, building, windows | |
Solitude | 1944 | Private collection | house, woods, road | |
Morning in a City | 1944 | Williams College Museum of Art | woman, nude, room, bed, window, city | |
Rooms for Tourists | 1945 | Yale University Art Gallery | house, night | [37] |
August in the City | 1945 | Norton Gallery of Art West Palm Beach |
house, woods | [38] |
Summer Evening | 1947 | Private collection | couple, night, house | [39] |
Pennsylvania Coal Town | 1947 | Butler Institute of American Art, Youngstown OH |
house, stairs, man | [40] |
Seven AM | 1948 | Whitney Museum of American Art | morning, woods, house | |
Noon | 1949 | Dayton Art Institute | house, woman | |
Conference at Night | 1949 | Wichita Art Museum | woman, men, window, night | |
Cape Cod Morning | 1950 | National Museum of American Art | Cape Cod, woman, house, woods | [41] |
Rooms by the Sea | 1951 | Yale University Art Gallery | rooms, sea, door | [42] |
Morning Sun | 1952 | Columbus Museum of Art | woman, room, bed, window, city |
[43] |
Hotel by a Railroad | 1952 | Hirshhorn Museum and Sculpture Garden | room, couple, window, city, reading |
[44] |
Sea Watchers | 1952 | Private collection | couple, sea, house, wind | |
Office in a Small City | 1953 | Metropolitan Museum of Art | desk, man, window, buildings | [45] |
South Carolina Morning | 1955 | Whitney Museum of American Art | woman, house | |
Hotel Window | 1956 | The Forbes Magazine Collection | hotel, window, woman, city | |
Four Lane Road | 1956 | Private collection | couple, gas station, road, woods, chair |
[46] |
Western Motel | 1957 | Yale University Art Gallery | hotel, car, landscape, woman | |
Sunlight in a Cafeteria | 1958 | Yale University Art Gallery | café, woman, man, window, street |
[47] |
Excursion into Philosophy | 1959 | Private collection | couple, room window, book |
[48] |
Second Story Sunlight | 1960 | Whitney Museum of American Art | couple, reading, house, woods | [49] |
People in the Sun | 1960 | National Museum of American Art Washington, D.C. |
landscape, reading, men, women, road, sun |
[50] |
A Woman in the Sun | 1961 | Whitney Museum of American Art | woman, nude, window, bed, landscape |
[51] |
New York Office | 1962 | Montgomery Museum of Fine Arts | New York, desk, woman, window | [52] |
Intermission | 1963 | Private collection | woman, armchair | |
Sun in a Empty Room | 1963 | Private collection | room, window, woods | [53] |
Chair Car | 1965 | Private collection[2] | woman, reading | [54] |
Two Comedians | 1965 | Private collection | couple, costumes, theatre | [55] |
Exhibitions
In 1980 the groundbreaking show, "Edward Hopper: The Art and the Artist," opened at the Whitney Museum of American Art and visited London, Dusseldorf, and Amsterdam, as well as San Francisco and Chicago. For the first time ever, this show presented Hopper's oil paintings together with drawings on paper, which were his studies for those works. This was the beginning of Hopper's popularity in Europe and his large world-wide reputation.
In 2004, a large selection of Hopper's paintings toured through Europe, visiting Cologne, Germany and Tate Modern in London. The Tate exhibition became the second most popular in the gallery's history, with 420,000 visitors in the three months it was open.
In 2007, an exhibition focusing on the period of Hopper’s greatest achievements—from about 1925 to mid-century— was under way at the Museum of Fine Arts, Boston. The exhibit comprises fifty oil paintings, thirty watercolors, and twelve prints, including the favorites Nighthawks, Chop Suey, and Lighthouse and Buildings, Portland Head, Cape Elizabeth, Maine. The exhibition was organized by the Museum of Fine Arts, Boston, National Gallery of Art, Washington, and The Art Institute of Chicago.
Influence
Hopper's influence on the art world and pop culture is undeniable. Homages to Nighthawks featuring cartoon characters or famous pop culture icons such as James Dean and Marilyn Monroe are often found in poster stores and gift shops. Although this example does not, Hopper often used his wife as the model for female figures. The cable television channel Turner Classic Movies sometimes runs a series of animated clips based on Hopper paintings before they air their films.
Hopper's cinematic wide compositions and dramatic use of lights and darks has also made him a favorite among filmmakers. For example, House by the Railroad is said to have heavily influenced the iconic house in the Alfred Hitchcock film Psycho. The same painting has also been cited as being an influence on the home in the Terrence Malick film Days of Heaven.
Noted surrealist horror film director Dario Argento went so far as to recreate the diner and the patrons in Nighthawks as part of a set for his 1976 film Deep Red (aka Profondo Rosso).
To establish the lighting of scenes in the 2002 film Road to Perdition, director Sam Mendes drew from the paintings of Hopper as a source of inspiration, particularly New York Movie.[3]
In 2004 British guitarist John Squire (formerly of The Stone Roses fame) released a concept album based on Hopper's work entitled Marshall's House. Each song on the album inspired by, and sharing its title with, a painting by Hopper.
Polish composer Paweł Szymański's Compartment 2, Car 7 for violin, viola, cello and vibraphone (2003) was inspired by Hopper's Compartment C, Car 293. [56]
German film director Wim Wenders's 1997 film The End of Violence incorporates a tableau vivant of Nighthawks, recreated by actors.
Each of the 12 chapters in New Zealander Chris Bell (author)'s 2004 novel Liquidambar (UKA Press/PABD) interprets one of Hopper's paintings to create a surreal detective story.
Hopper's influence even reached the Japanese animation world in the dark cyberpunk thriller Texhnolyze. Hopper's artwork was used as the basis for the surface world in Texhnolyze.
See also
Bibliography
- Levin, Gail. Edward Hopper: An Intimate Biography' (New York: Alfred A. Knopf, 1995; Rizzoli Books, 2007.)
- Levin, Gail. Hopper's Places (New York: Knopf, 1985; 2nd expanded edition, University of California Press, 1998.)
- Levin, Gail. Edward Hopper: A Catalogue Raisonne (New York: W.W. Norton & Co., 1995).
- Cook, Greg, "Visions of Isolation: Edward Hopper at the MFA", Boston Phoenix, May 4, 2007, p.22, Arts and Entertainment.
- Healy, Pat, "Look at all the lonely people: MFA's 'Hopper' celebrates solitude", Metro newspaper, Tuesday, May 8, 2007, p.18.
References
- ^ a b Hopper's Gloucester, Andrea Shea, WBUR, July 6, 2007.
- ^ Sold at auction in 2005 for €10.865 million.
- ^ Ray Zone. "A Master of Mood". American Cinematographer. Retrieved 2007-06-06.
External links
- Edward Hopper at the National Gallery of Art
- "Alone, Together: examining the work of Edward Hopper" ArtsEditor.com article
- Art and Bio of Hopper at the WebMuseum
- An Edward Hopper Scrapbook, compiled by the staff of the *Smithsonian American Art Museumbased on research by Gail Levin
- Hopper exhibition at Tate 2004
- Edward Hopper
- "Staying Up Much Too Late: Edward Hopper's Nighthawks and the Dark Side of the American Psyche" by Gordon Theisen
- Gallery of Edward Hopper's Paintings