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  • Edward Hopper
    Edward Hopper is widely acknowledged as the most important realist painter of twentieth-century America But his vision of reality was a selective one, reflecting his own temperament in the empty cityscapes, landscapes, and isolated figures he chose to paint
  • Nighthawks, 1942 by Edward Hopper
    Nighthawks is a 1942 painting by Edward Hopper that portrays people sitting in a downtown diner late at night It is Hopper's most famous work and is one of the most recognizable paintings in American art
  • Edward Hopper Boigraphy
    In Hopper's most iconic painting, Nighthawks, four customers and a waiter inhabit the brightly lit interior of a city diner at night They appear lost in their own weariness and private concerns, their disconnection perhaps echoing the wartime anxiety felt by the nation as a whole
  • Edward Hopper Paintings
    Cobb's Barn and Distant Houses Summer Interior Girlie Show
  • The Lee Shore, 1941 by Edward Hopper
    Painted in the fall of 1928, a watershed year for Hopper both creatively and critically, The Lee Shore embodies the haunting drama and quiet tension that characterize the artist's best work The draw of water for Hopper was three-fold
  • The Long Leg, 1935 by Edward Hopper
    Hopper's The Long Leg, 1935 is a nearly all-blue sailing picture with the simplest of elements, while his Ground Swell, 1939 is more complex and depicts a group of youngsters out for a sail, a theme reminiscent of iconic Breezing Up, 1876 of Winslow Homer
  • Approaching a City, 1946 by Edward Hopper
    Approaching a City, 1946 by Edward Hopper In the rare cases when Edward Hopper depicts rails running into the picture, a sense of threat accompanies them In Approaching a City, 1946, Hopper couches this sense in a compelling visual metaphor: a cavernous tunnel leading into the bowels of the city It opens out to receive the traveller like a
  • Edward Hopper Quotes
    -Edward Hopper I find linseed oil and white lead the most satisfactory mediums ”-Edward Hopper I have tried to present my sensations in what is the most congenial and impressive form possible to me ”-Edward Hopper I think that zinc white has a property of scaling and cracking
  • Room in New York, 1932 by Edward Hopper
    Room in New York, 1932 by Edward Hopper Throughout his life Hopper stated that his art was not an exact transcription of nature; it was a condensation of many scenes and impressions "I'm always at a loss when asked for facts about any of my pictures or to describe how any one of them came to be made," he told Lloyd Goodrich
  • Summer Evening, 1947 by Edward Hopper
    Summer Evening, 1947 by Edward Hopper What distinction did Hopper draw between work and leisure? Comparing Office at Night with Summer Evening, it would appear that he made little distinction at all The relationship between the two people in the office, implicit but quite obvious to the viewer, corresponds to the explicit relationship of the





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