Edward Hopper

Ordinary yet mysterious vignettes of American life, infused with light and a disquieting stillness, characterize Edward Hopper’s art. Hopper studied in New York under such prestigious teachers as William Merritt Chase, Robert Henri, and Kenneth Hayes Miller. He also made three trips to Europe between 1906 and 1910, where he roamed the halls of museums rather than study at academies. Though often discouraged by having to support himself as a freelance commercial illustrator (1907–23), Hopper continued to paint and exhibit, and he mastered the etching process during this period. After 1924, with the support of his wife, artist Josephine Nivison (1883–1968), Hopper devoted himself entirely to his fine art. By the 1930s a predominant theme was evident in his work: American architectural settings that evoked psychological tension and alienation. His depictions became increasingly pared-down and minimal over the years. Touted by critics as distinctively American, Hopper’s compositional style and his emphasis on architectural structures over figures distinguished him from his contemporaries, who included artists linked with socially-motivated art movements, such as the American scene or social realism, as well as those artists associated with the European avant-garde.