Edward Hopper A Prominent American Realist Painter and Printmaker
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Edward Hopper (July 22, 1882 — May 15, 1967) was a prominent American realist painter and printmaker. While he was most popularly known for his oil paintings, he was equally proficient as a watercolorist and printmaker in etching. Both in his urban and rural scenes, his spare and finely calculated renderings reflected his personal vision of modern American life.

Always reluctant to discuss himself and his art, Hopper simply summed up his art by stating, “The whole answer is there on the canvas.” Hopper was stoic and fatalistic—a quiet introverted man with a gentle sense of humor and a frank manner. Conservative in politics and social matters, he accepted things as they were and displayed a lack of idealism. Cultured and sophisticated, he was well-read, and many of his paintings show figures reading. He was generally good company and unperturbed by silences, though sometimes taciturn, grumpy or detached. He was always serious about his art and the art of others, and when asked would return frank opinions.

Hopper’s most systematic declaration of his philosophy as an artist was given in a handwritten note, titled “Statement”, submitted in 1953 to the journal, Reality: “Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world. No amount of skillful invention can replace the essential element of imagination. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the human intellect for a private imaginative conception. The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form and design. The term life used in art is something not to be held in contempt, for it implies all of existence and the province of art is to react to it and not to shun it. Painting will have to deal more fully and less obliquely with life and nature’s phenomena before it can again become great.”

Although he is best known for his oil paintings, Hopper initially achieved recognition for his watercolors and he also produced some commercially successful etchings. Additionally, his notebooks contain high-quality pen and pencil sketches, which were never meant for public viewing.

Hopper derived his subject matter from two primary sources: one, the common features of American life (gas stations, motels, restaurants, theaters, railroads, and street scenes) and its inhabitants; and two, seascapes and rural landscapes. Regarding his style, Hopper defined himself as “an amalgam of many races” and not a member of any school, particularly the “Ashcan School”. Once Hopper achieved his mature style, his art remained consistent and self-contained, in spite of the numerous art trends that came and went during his long career.

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”.

Hopper’s influence on the art world and pop culture is undeniable. Though he had no formal students, many artists have cited him as an influence, including Willem de Kooning, Jim Dine, and Mark Rothko. An illustration of Hopper’s influence is Rothko’s early work Composition I (c. 1931`), which is a direct paraphrase of Hopper’s Chop Suey.