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Edward Hopper (1882 – 1967) was an American painter known for his melancholy depictions of alienation in everyday life. Eerily realistic, his stark urban and rural scenes are a desolate montage of deserted streets, half-empty theaters, isolated railroad tracks and dreary rooming houses. Originally aspiring to be a Naval architect, Hopper rapidly rose to the status of America’s foremost Realist. Portraying scenes in New York and New England, Hopper underscored their grim nature with sharp lines, large, impersonal shapes, flat expanses of color and hard angles. Although known for his oil paintings, Hopper was also an adept watercolorist and printmaker whose later works shared structural similarities with geometric abstraction.

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Edward Hopper (1882 – 1967) was an American painter known for his melancholy depictions of alienation in everyday life. Eerily realistic, his stark urban and rural scenes are a desolate montage of deserted streets, half-empty theaters, isolated railroad tracks and dreary rooming houses. Originally aspiring to be a Naval architect, Hopper rapidly rose to the status of America’s foremost Realist. Portraying scenes in New York and New England, Hopper underscored their grim nature with sharp lines, large, impersonal shapes, flat expanses of color and hard angles. Although known for his oil paintings, Hopper was also an adept watercolorist and printmaker whose later works shared structural similarities with geometric abstraction.

Edward Hopper is widely acknowledged as the most important realist painter of twentieth-century America. Hopper derived his subject matter from two primary sources: one, the common features of American life (gas stations, motels, restaurants, theatres, railroads, and street scenes) and its inhabitants; and two, seascapes and rural landscapes.   No one captured the isolation of the individual within the modern city like Edward Hopper. His imagery of figures within urban settings go well beyond their role as modern cityscapes, exposing the underbelly of the human experience. His work demonstrates that realism is not merely a literal or photographic copying of what we see, but an interpretive rendering.

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