Konstalbum-Edward Hopper

Edward Hopper F: 22 jul 1882, Nyack, New York, USA D: 15 maj 1967, Manhattan, New York, USA

Edward Hopper - A Woman in the Sun 1961

Edward Hopper - Apartment Houses 1923

Edward Hopper - August in the city 1945

Edward Hopper - Automat 1927

Edward Hopper - Cape Cod Afternoon 1936

Edward Hopper - Chair Car 1965

Edward Hopper - Chop Suey 1929

Edward Hopper - Coast Guard Station, Two Lights, Maine

Edward Hopper - Conference at Night ca 1949

Edward Hopper - D & R. G. Locomotive 1925

Edward Hopper - Drugstore 1927

Edward Hopper - Early Sunday Morning 1930

Edward Hopper - Edward Hopper - Jo in Wyoming 1946

Edward Hopper - El Palacio 1946

Edward Hopper - Fendi & Flair

Edward Hopper - Fendi & Flair

Edward Hopper - Gas 1940

Edward Hopper - Ground Swell 1939

Edward Hopper - Hotel Room 1931

Edward Hopper - Interior Courtyard at 48 rue de Lille, Paris (1906)

Edward Hopper - Intermission (also known as Intermedio) 1963

Edward Hopper - Morning Sun 1952

Edward Hopper - New York Movie 1939

Edward Hopper - New York Street Corner 1913

Edward Hopper - Nighthawks 1942

Edward Hopper - Office at Night 1940

Edward Hopper - Pennsylavia Coal Town 1947

Edward Hopper - People in the Sun 1960

Edward Hopper - Rooms by the Sea 1951

Edward Hopper - Saint Michael's College, Santa Fe 1925

Edward Hopper - Second Story Sunlight 1960

Edward Hopper - Summer Evening 1947

Edward Hopper - Summer Interior 1909

Edward Hopper - Sun on Prospect Street, Gloucester, Massachusetts 1934

Edward Hopper - Sunday 1926

Edward Hopper - Tables for Ladies 1930

Edward Hopper - The Barber Shop 1931

Edward Hopper - The Circle Theatre 1936

Edward Hopper - The Lee Shore 1941

Edward Hopper - The Lighthouse at Two Lights 1929

Edward Hopper - The Mansard Roof 1923

Edward Hopper - The Martha McKeen of Wellfleet 1944

Edward Hopper - Two on the Aisle 1927

Edward Hopper - Victorian House

Edward Hopper - Western Motel 1957

Edward Hopper - American Locomotive 1944

He trained under Robert Henri, 1900-06, and between 1906 and 1910 made three trips to Europe, though these had little influence on his style. Hopper exhibited at the Armoury Show in 1913, but from then until 1923 he abandoned painting, earning his living by commercial illustration. Thereafter, however, he gained widespread recognition as a central exponent of American Scene painting, expressing the loneliness, vacuity, and stagnation of town life. Yet Hopper remained always an individualist: `I don't think I ever tried to paint the American scene; I'm trying to paint myself.'

Edward Hopper painted American landscapes and cityscapes with a disturbing truth, expressing the world around him as a chilling, alienating, and often vacuous place. Everybody in a Hopper picture appears terribly alone. Hopper soon gained a widespread reputation as the artist who gave visual form to the loneliness and boredom of life in the big city. This was something new in art, perhaps an expression of the sense of human hopelessness that characterized the Great Depression of the 1930s.

Edward Hopper has something of the lonely gravity peculiar to Thomas Eakins, a courageous fidelity to life as he feels it to be. He also shares Winslow Homer's power to recall the feel of things. 

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