Editing Edward Hopper

{{Short description|American painter and printmaker (1882–1967)}}
{{Use mdy dates|date=October 2024}}
{{Infobox artist
| name        = Edward Hopper
| image       = Edward Hopper, New York artist LCCN2016871478 (cropped).jpg
| alt         = Black-and-white photo of Edward Hopper in 1937, seated and facing left
| caption     = Hopper in 1937
| birth_name  = Edward Hopper
| birth_date  = {{birth date|1882|07|22}}
| birth_place = [[Nyack, New York]], U.S.
| death_date  = {{death date and age|1967|05|15|1882|07|22}} 
| death_place = [[Manhattan]], New York City, U.S.
| field       = Painting, printmaking
| training    = [[Parsons School of Design]]
| movement    = Realism
| works       = {{Plainlist|
* ''[[Automat (Hopper)|Automat]]'' (1927)
* ''[[Chop Suey (Hopper)|Chop Suey]]'' (1929)
* ''[[Nighthawks (Hopper)|Nighthawks]]'' (1942)
* ''[[Office in a Small City]]'' (1953)
}}
| spouse      = {{marriage|[[Josephine Hopper|Josephine Nivison]]|1924}}
| signature   = Hopper sig.png
}}

'''Edward Hopper''' (July 22, 1882 – May 15, 1967) was an [[American realism]] painter and [[printmaker]]. He is one of America's most renowned artists and known for his skill in depicting modern American life and landscapes.

Born in [[Nyack, New York]], to a middle-class family, Hopper's early interest in art was supported by his parents. He studied at the [[New York School of Art]] under [[William Merritt Chase]] and [[Robert Henri]], where he developed a signature style characterized by its emphasis on solitude, light, and shadow.

Hopper's work, spanning [[oil paintings]], [[watercolor painting|watercolors]], and [[etching]]s, predominantly explores themes of loneliness and isolation within American urban and rural settings. His most famous painting, ''[[Nighthawks (Hopper)|Nighthawks]]'' (1942), exemplifies his focus on quiet, introspective scenes from everyday life. Though his career advanced slowly, Hopper achieved recognition by the 1920s, with his works featured in major American museums. Hopper's technique, marked by a composition of form and use of light to evoke mood, has been influential in the art world and popular culture. His paintings, often set in the architectural landscapes of New York or the serene environments of [[New England]], convey a sense of narrative depth and emotional resonance, making him a pivotal figure in American Realism. Hopper created subdued drama out of commonplace subjects layered with a poetic meaning, inviting narrative interpretations. He was praised for "complete verity" in the America he portrayed.

In 1924, Hopper married fellow artist [[Josephine Hopper|Josephine Nivison]], who played a significant role in managing his career and modeling for many of his works. The couple lived modestly in New York City and spent summers in [[Cape Cod]], which influenced much of Hopper's later art. Despite critical acclaim, Hopper remained private and introspective, dedicated to exploring the subtleties of human experience and the American landscape. His depiction of American life, with its emphasis on isolation and contemplation, remains a defining aspect of his appeal and significance in the history of American art.

== Biography ==

=== Early life ===
[[File:Edward Hopper House.JPG|thumb|[[Edward Hopper Birthplace and Boyhood Home|Birthplace and childhood home]] of Edward Hopper in Nyack, New York]]
Hopper was born in 1882 in [[Nyack, New York]], a yacht-building center on the [[Hudson River]] north of New York City.<ref>{{cite ANB |title=Hopper, Edward |first=Gail |last=Levin |url=https://doi.org/10.1093/anb/9780198606697.article.1700423}}</ref><ref name="metmuseum" /> He was one of two children of a comfortably well-off family. His parents, of mostly [[Dutch people|Dutch]] ancestry, were Elizabeth Griffiths Smith and Garret Henry Hopper, a dry-goods merchant.<ref name=":1">{{harvnb|Levin|1995b|p=11}}</ref> Although not as successful as his forebears, Garret provided well for his two children with considerable help from his wife's inheritance. He retired at age forty-nine.<ref>{{harvnb|Levin|1995b|p=9}}</ref> Edward and his sister, Marion, attended both private and public schools. They were raised in a strict [[Baptist]] home.<ref>{{harvnb|Levin|1995b|p=12}}</ref> His father had a mild nature, and the household was dominated by women: Hopper's mother, grandmother, sister, and maid.<ref>{{harvnb|Levin|1995b|p=23}}</ref>

His [[Edward Hopper Birthplace and Boyhood Home|birthplace and boyhood home]] was listed on the [[National Register of Historic Places]] in 2000. It is now operated as the Edward Hopper House Museum & Study Center,<ref>{{Cite web|url=https://www.edwardhopperhouse.org/|title=Edward Hopper House|website=Edward Hopper House Museum and Study Center}}</ref> serving as a nonprofit community cultural center featuring exhibitions, workshops, lectures, performances, and special events.<ref name="nris">{{NRISref|2009a}}</ref>

Hopper was a good student in grade school, and by the time he was five his talent with drawing was already apparent. He readily absorbed his father's intellectual tendencies and love of [[Culture of France|French]] and [[Russian culture|Russian]] cultures. He also demonstrated his mother's artistic heritage.<ref>{{harvnb|Levin|1995b|pp=12, 16}}</ref> Hopper's parents encouraged his art and kept him amply supplied with materials, instructional magazines, and illustrated books.

[[File:"Vase" Earliest Signed Drawing by Edward Hopper.jpg|thumb|''Vase'' (1893), example of Edward Hopper's earliest signed and dated artwork with attention to light and shadow]]
Hopper first began signing and dating his drawings at the age of 10. Among the earliest of these drawings are charcoal sketches of geometric shapes, a vase, bowl, cup, and boxes.<ref name=":0">{{harvnb|Levin|1995b|pp=16–18}}</ref> The detailed examination of light and shadow that continued throughout his career is already visible in these early works.<ref name=":0" /> By his teens, he was working in pen-and-ink, charcoal, watercolor, and oil—drawing from nature while also making political cartoons.<ref>{{harvnb|Levin|1995b|p=20}}</ref> In 1895, he created his first signed oil painting, ''Rowboat in Rocky Cove'', which he copied from a reproduction in ''The Art Interchange'', a popular journal for amateur artists. Hopper's other earliest oils, such as ''Old ice pond at Nyack'' and his c.1898 painting ''Ships,'' have been identified as copies of paintings by artists including [[Bruce Crane]] and [[Edward Moran]].<ref>{{cite journal |last=Shadwick |first=Louis |title=The Origins of Edward Hopper's Earliest Oil Paintings |journal=The Burlington Magazine |volume=162 |date=October 2020 |pages=870–877}}</ref><ref>{{cite news |last=Gopnik |first=Blake |title=Early Works by Edward Hopper Found to Be Copies of Other Artists |url=https://www.nytimes.com/2020/09/28/arts/design/edward-hopper-copies-paintings.html |website=The New York Times |date=October 2, 2020}}</ref>

In his early self-portraits, Hopper tended to represent himself as skinny, ungraceful, and homely. Though a tall and quiet teenager, his prankish sense of humor found outlet in his art, sometimes in depictions of immigrants or of women dominating men in comical situations. Later in life, he mostly depicted women as the figures in his paintings.<ref>{{harvnb|Levin|1995b|pp=23, 25}}</ref> In high school (he graduated from [[Nyack High School]] in 1899),<ref name="trio">{{cite news|url=https://www.nytimes.com/2004/12/05/realestate/a-trio-of-villages-hugging-the-hudson.html|title=A Trio of Villages Hugging the Hudson|last=Brenner|first=Elsa|date=December 5, 2004|work=The New York Times|access-date=May 4, 2008}}</ref> he carved wooden models of sailboats and barges and dreamed of becoming a [[naval architect]],<ref>{{cite web |last1=Shunnarah |first1=Mandy |title=10 Pieces of Unexpected Art from Historic Artists' Homes and Studios |url=https://savingplaces.org/stories/10-unexpected-art-hahs |website=National Trust for Historic Preservation |date=April 29, 2024}}</ref> but after graduation declared his intention to pursue a career in art. Hopper's parents insisted that he study commercial art to have a reliable means of income.<ref name="Maker 1990, p. 8">{{harvnb|Maker|1990|p=8}}</ref> In developing his self-image and individualistic philosophy of life, Hopper was influenced by the writings of [[Ralph Waldo Emerson]]. He later said, "I admire him greatly...I read him over and over again."<ref>{{harvnb|Wagstaff|2004|p=16}}</ref>

Hopper began art studies with a correspondence course in 1899. Soon he transferred to the New York School of Art and Design, the forerunner of [[Parsons School of Design]]. There, he studied for six years with teachers including [[William Merritt Chase]], who instructed him in oil painting.<ref name="Maker 1990, p. 8" /> Early on, Hopper modeled his style after Chase and French Impressionist masters [[Édouard Manet]] and [[Edgar Degas]].<ref>{{harvnb|Levin|1995b|p=40}}</ref> Sketching from live models, however, proved challenging and somewhat shocking for the conservatively raised Hopper.

Another of his teachers, artist [[Robert Henri]], taught life class. Henri encouraged his students to use their art to "make a stir in the world." He also advised his students, "It isn't the subject that counts but what you feel about it" and "Forget about art and paint pictures of what interests you in life."<ref name="Maker 1990, p. 8" /> In this manner, Henri influenced Hopper, as well as future artists [[George Bellows]] and [[Rockwell Kent]]. He encouraged them to imbue their work with a modern spirit. Some artists in Henri's circle, including [[John Sloan]], became members of "The Eight", also known as the [[Ashcan School]] of [[American Art]].<ref name="Maker 1990, p. 9">{{harvnb|Maker|1990|p=9}}</ref> Hopper's first surviving oil painting to hint at his use of interiors as a theme was ''Solitary Figure in a Theater'' (c.1904).<ref>{{harvnb|Levin|2001|p=19}}</ref> During his student years, he also painted dozens of nudes, still life studies, landscapes, and portraits, including self-portraits.<ref>{{harvnb|Levin|2001|p=38}}</ref>

In 1905, Hopper landed a part-time job with an advertising agency, where he created cover designs for trade magazines.<ref>{{harvnb|Levin|1995b|p=48}}</ref> Hopper came to detest illustration. He was bound to it by economic necessity until the mid-1920s.<ref>{{harvnb|Maker|1990|p=11}}</ref> He temporarily escaped by making three trips to Europe, each centered in Paris, ostensibly to study its art scene. In fact, he mostly worked alone and seemed mostly unaffected by the new currents in art. Later, he said he didn't "remember hearing of [[Pablo Picasso|Picasso]] at all".<ref name="Maker 1990, p. 9" /> He was highly impressed by [[Rembrandt]], particularly his ''[[Night Watch (painting)|Night Watch]]'', which he said was "the most wonderful thing of his I have seen; it's past belief in its reality."<ref>{{harvnb|Wagstaff|2004|p=17}}</ref>

[[File:Night on the El Train, 1918.jpg|thumb|''House Tops'' (1921) by Edward Hopper]]
Hopper began painting urban and architectural scenes in a dark palette. Then he shifted to the lighter shades of the [[Impressionism|Impressionists]] before returning to the darker palette, with which he was most comfortable. He later said, "I got over that and later things done in Paris were more the kind of things I do now."<ref>{{harvnb|Levin|1995b|p=66}}</ref> Hopper spent much of his time drawing street and café scenes, and going to the theater and opera. Unlike many of his contemporaries who imitated the abstract [[cubism|cubist]] experiments, Hopper was attracted to [[Realism (arts)|realist art]]. Later, he claimed few European influences other than [[Rembrandt]], [[Francisco Goya|Goya]] and the French engraver [[Charles Meryon]] whose moody Paris scenes Hopper imitated.<ref>{{harvnb|Maker|1990|p=10}}</ref><ref>{{cite book |last=Rodman |first=Selden |title=Conversations with Artists |location=New York |publisher=The Devin-Adair Co. |year=1957|page=199}}</ref>

=== Years of struggle ===
After returning from his last European trip, Hopper rented a studio in New York City, where he struggled to define his own style. Reluctantly, he returned to illustration to support himself. Being a freelancer, Hopper was forced to solicit for projects, and had to knock on the doors of magazine and agency offices to find business.<ref>{{harvnb|Levin|1995b|p=85}}</ref> His painting languished: "it's hard for me to decide what I want to paint. I go for months without finding it sometimes. It comes slowly."<ref name="Levin 1995, p. 88">{{harvnb|Levin|1995b|p=88}}</ref> His fellow illustrator Walter Tittle described Hopper's depressed emotional state in sharper terms, seeing his friend "suffering...from long periods of unconquerable inertia, sitting for days at a time before his easel in helpless unhappiness, unable to raise a hand to break the spell."<ref>{{harvnb|Wagstaff|2004|p=53}}</ref>

From February 22 to March 5, 1912, he was included in the exhibition of The Independents, a group of artists at the initiative of [[Robert Henri]] but did not make any sales.<ref name="Levin 1995, p. 88" />

In 1912, Hopper traveled to [[Gloucester, Massachusetts]], to seek some inspiration and made his first outdoor paintings in America.<ref name="Levin 1995, p. 88" /> He painted ''Squam Light'', the first of many lighthouse paintings to come.<ref>{{harvnb|Levin|2001|p=88}}</ref>

In 1913, at the [[Armory Show]], Hopper earned $250 when he sold his first painting, ''Sailing'' (1911), to an American businessman Thomas F. Vietor, which he had painted over an earlier self-portrait.<ref>{{harvnb|Levin|2001|p=107}}</ref> Hopper was thirty-one, and although he hoped his first sale would lead to others in short order, his career would not catch on for many more years.<ref>{{harvnb|Levin|1995b|p=90}}</ref> He continued to participate in group exhibitions at smaller venues, such as the [[MacDowell Club]] of New York.<ref>{{cite web |last=Levin |first=Gail |title=Hopper, Edward |website=American National Biography Online |date=February 2000 |url=http://www.anb.org/articles/17/17-00423.html |access-date=December 20, 2015}}</ref> Shortly after his father's death that same year, Hopper moved to the 3 [[Washington Square Park|Washington Square]] North apartment in the [[Greenwich Village]] section of [[Manhattan]], where he would live for the rest of his life.

[[File:Edward Hopper - Night Shadows - Oct 1922 Shadowland.jpg|thumb|''Night Shadows'' etching from ''[[Shadowland (magazine)|Shadowland]]'', 1922<ref>{{cite journal |last=Du Bois |first=Guy Pène |title=Edward Hopper, Draughtsman |journal=Shadowland |date=September 1922 – February 1923 |pages=21–22 |url=https://archive.org/details/shadowland07brew/page/n6/mode/2up}}</ref>]]
The following year, he received a commission to create some movie posters and handle publicity for a movie company.<ref>{{harvnb|Wagstaff|2004|p=227}}</ref> Although he did not like the illustration work, Hopper was a lifelong devotee of the cinema and the theatre, both of which he treated as subjects for his paintings. Each form influenced his compositional methods.<ref>{{harvnb|Levin|2001|pp=74–77}}</ref>

At an impasse over his oil paintings, in 1915 Hopper turned to etching. By 1923 he had produced most of his approximately 70 works in this medium, many of urban scenes of both Paris and New York.<ref>{{harvnb|Maker|1990|p=12}}</ref><ref>{{cite book |last=Kranzfelder |first=Ivo |title=Edward Hopper, 1882–1967: Vision of Reality |location=New York |publisher=Barnes & Noble Books |year=2003 |page=13 |isbn=0760748772}}</ref> He also produced some posters for the war effort, as well as continuing with occasional commercial projects.<ref name="Levin 1995, p. 120">{{harvnb|Levin|1995b|p=120}}</ref> When he could, Hopper did some outdoor oil paintings on visits to New England, especially at the art colonies at [[Ogunquit]], and [[Monhegan Island]].<ref>{{harvnb|Levin|1980|pp=29–33}}</ref>

During the early 1920s his etchings began to receive public recognition. They expressed some of his later themes, as in ''Night on the El Train'' (couples in silence), ''Evening Wind'' (solitary female), and ''The Catboat'' (simple nautical scene).<ref>{{harvnb|Maker|1990|pp=13–15}}</ref> Two notable oil paintings of this time were ''New York Interior'' (1921) and ''New York Restaurant'' (1922).<ref>{{harvnb|Levin|2001|pp=151, 153}}</ref> He also painted two of his many "window" paintings to come: ''[[Girl at Sewing Machine]]'' and ''Moonlight Interior'', both of which show a figure (clothed or nude) near a window of an apartment viewed as gazing out or from the point of view from the outside looking in.<ref>{{harvnb|Levin|2001|pp=152, 155}}</ref>

[[File:Smash The Hun - Dry Dock Dial cover.jpg|thumb|upright|Hopper's prizewinning poster, ''Smash the Hun'' (1919), reproduced on the front cover of the ''[[Morse Dry Dock and Repair Company#The Dry Dock Dial|Morse Dry Dock Dial]]'']]
Although these were frustrating years, Hopper gained some recognition. In 1918, Hopper was awarded the U.S. Shipping Board Prize for his war poster, ''Smash the Hun''. He participated in three exhibitions: in 1917 with the Society of Independent Artists, in January 1920 (a one-man exhibition at the Whitney Studio Club, which was the precursor to the Whitney Museum), and in 1922 (again with the Whitney Studio Club). In 1923, Hopper received two awards for his etchings: the [[Logan Medal of the Arts|Logan Prize]] from the [[Chicago Society of Etchers]], and the W.&nbsp;A. Bryan Prize.<ref>{{cite book |last=Levin |first=Gail |title=Edward Hopper at Kennedy Galleries |location=New York |publisher=Kennedy Galleries |year=1977 |chapter=Chronology}}</ref>

=== Marriage and breakthrough ===
[[File:Robert Henri - The Art Student (Miss Josephine Nivison).jpg|thumb|upright|[[Josephine Hopper|Miss Josephine Nivison]], by Robert Henri, 1906]]
By 1923, Hopper's slow climb finally produced a breakthrough. He re-encountered [[Josephine Hopper|Josephine Nivison]], an artist and former student of [[Robert Henri]], during a summer painting trip in Gloucester, Massachusetts. They were opposites: she was short, open, gregarious, sociable, and liberal, while he was tall, secretive, shy, quiet, introspective, and conservative.<ref name="Levin 1995, p. 120" /> With Jo's encouragement, Hopper turned to the medium of watercolor, producing numerous scenes of Gloucester. They married a year later with artist [[Guy Pène du Bois]] as their best man.<ref name=":1" /> Nivison once remarked: "Sometimes talking to Eddie is just like dropping a stone in a well, except that it doesn't thump when it hits bottom."<ref name="Maker 1990, p. 16">{{harvnb|Maker|1990|p=16}}</ref> She subordinated her career to his and shared his reclusive lifestyle. The rest of their lives revolved around their spare walk-up apartment in the city and their summers in [[Truro, Massachusetts|South Truro]] on [[Cape Cod]]. She managed his career and his interviews, was his primary model, and was his life companion.<ref name="Maker 1990, p. 16" />

With Nivison's help, six of Hopper's Gloucester watercolors were admitted to an exhibit at the [[Brooklyn Museum]] in 1923. One of them, ''The Mansard Roof'', was purchased by the museum for its permanent collection for the sum of $100.<ref name="Levin 1995, p. 171">{{harvnb|Levin|1995b|p=171}}</ref> The critics generally raved about his work; one stated, "What vitality, force and directness! Observe what can be done with the homeliest subject."<ref name="Levin 1995, p. 171" /> Hopper sold all his watercolors at a one-man show the following year and finally decided to put illustration behind him.

The artist had demonstrated his ability to transfer his attraction to Parisian architecture to American urban and rural architecture. According to [[Boston Museum of Fine Arts]] curator Carol Troyen, "Hopper really liked the way these houses, with their [[Turret (architecture)|turret]]s and [[tower]]s and [[porch]]es and [[mansard roof]]s and ornament cast wonderful shadows. Hopper always said that his favorite thing was painting sunlight on the side of a house."<ref name="shea">{{cite web |last=Shea |first=Andrea |title=Hopper's Gloucester |url=http://www.wbur.org/2007/07/06/hoppers-gloucester/9309 |website=[[WBUR]] |date=July 6, 2007 |access-date=April 3, 2025}}</ref>

At forty-one, Hopper received further recognition for his work. He continued to harbor bitterness about his career, later turning down appearances and awards.<ref name="Maker 1990, p. 16" /> With his financial stability secured by steady sales, Hopper would live a simple, stable life and continue creating art in his personal style for four more decades.

His ''Two on the Aisle'' (1927) sold for a personal record $1,500, enabling Hopper to purchase an automobile, which he used to make field trips to remote areas of New England.<ref name="Wagstaff 2004, p. 230">{{harvnb|Wagstaff|2004|p=230}}</ref> In 1929, he produced ''[[Chop Suey (painting)|Chop Suey]]'' and ''Railroad Sunset''. The following year, art patron [[Stephen Carlton Clark|Stephen Clark]] donated ''[[House by the Railroad (1925)|House by the Railroad]]'' (1925) to the [[Museum of Modern Art]], the first oil painting that it acquired for its collection.<ref>{{harvnb|Levin|2001|p=161}}</ref> Hopper painted his last self-portrait in oil around 1930. Although Josephine posed for many of his paintings, she sat for only one formal oil portrait by her husband, ''Jo Painting'' (1936).<ref>{{harvnb|Levin|2001|p=246}}</ref>

Hopper fared better than many other artists during the [[Great Depression]]. His stature took a sharp rise in 1931 when major museums, including the [[Whitney Museum of American Art]] and the [[Metropolitan Museum of Art]], paid thousands of dollars for his works. He sold 30 paintings that year, including 13 watercolors.<ref name="Wagstaff 2004, p. 230" /> The following year he participated in the first [[Whitney Biennial|Whitney Annual]], and he continued to exhibit in every annual at the museum for the rest of his life.<ref name="Wagstaff 2004, p. 230" /> In 1933, the Museum of Modern Art gave Hopper his first large-scale retrospective.<ref name="Maker 1990, p. 17">{{harvnb|Maker|1990|p=17}}</ref>

In 1930, the Hoppers rented a cottage in South Truro, on Cape Cod. They returned every summer for the rest of their lives, building a summer house there in 1934.<ref>{{cite web|last1=Allman|first1=William G.|title=New additions to the Oval Office|url=https://obamawhitehouse.archives.gov/blog/2014/02/10/new-additions-oval-office|access-date=February 11, 2016|via=[[NARA|National Archives]]|work=[[whitehouse.gov]]|date=February 10, 2014}}</ref> From there, they would take driving trips into other areas when Hopper needed to search for fresh material to paint. In the summers of 1937 and 1938, the couple spent extended sojourns on Wagon Wheels Farm in [[South Royalton, Vermont]], where Hopper painted a series of watercolors along the White River. These scenes are atypical among Hopper's mature works, as most are "pure" landscapes, devoid of architecture or human figures. ''First Branch of the White River'' (1938), now in the Museum of Fine Arts, Boston, is the best-known of Hopper's Vermont landscapes.<ref name="Clause 2012">{{harvnb|Clause|2012}}</ref>

[[File:Newyork-movie-edward-hopper-1939.jpg|thumb|''[[New York Movie]]'', 1939]]
Hopper was very productive through the 1930s and early 1940s, producing among many important works ''[[New York Movie]]'' (1939), ''Girlie Show'' (1941), ''[[Nighthawks (painting)|Nighthawks]]'' (1942), ''[[Hotel Lobby]]'' (1943), and ''Morning in a City'' (1944). During the late 1940s, however, he suffered a period of relative inactivity. He admitted: "I wish I could paint more. I get sick of reading and going to the movies."<ref name="Wagstaff 2004, p. 232">{{harvnb|Wagstaff|2004|p=232}}</ref> During the next two decades, his health faltered, and he had several prostate surgeries and other medical problems.<ref name="Wagstaff 2004, p. 232" /> But, in the 1950s and early 1960s, he created several more major works, including ''First Row Orchestra'' (1951); as well as ''Morning Sun'' and ''[[Hotel by a Railroad]]'', both in 1952; and ''[[Intermission (Hopper)|Intermission]]'' in 1963.<ref>{{harvnb|Wagstaff|2004|p=233}}</ref>

In 1966, Hopper was awarded The [[Edward MacDowell Medal]] by [[The MacDowell Colony]] for outstanding contributions to American culture.<ref>{{cite web|url=https://www.macdowell.org/medal-day-history|title=Macdowell Medalists|access-date=August 22, 2022}}</ref>

=== Death ===
[[File:3 Washington Square North, NYC.JPG|thumb|upright|Where Hopper lived in New York City, 3 Washington Square North]]
[[File:Grabstein Edward Hopper.JPG|thumb|Gravestone of Edward and Josephine Hopper, Oak Hill Cemetery, Nyack, N.Y.]]
Hopper died of natural causes in his studio near [[Washington Square Park|Washington Square]] in New York City on May 15, 1967. He was buried two days later in the family plot at Oak Hill Cemetery in Nyack, New York, his place of birth.<ref>{{cite web |title=Grave of Edward Hopper |url=http://www.knerger.de/html/hopperbild__kunst_17.html |website=knerger.de |language=de |access-date=April 3, 2025}}</ref> His wife died ten months later and is buried with him.

Edward Hopper's wife, Josephine, bequeathed their joint collection of over three thousand pieces to the [[Whitney Museum]].<ref>{{harvnb|Wagstaff|2004|p=235}}</ref> Arthayer Sanborn, a Baptist minister who frequently visited their home to care for Edward's sister, Marion, came into possession of three hundred Hopper drawings and paintings. Art historian Gail Levin has highlighted that whereas the Whitney Museum has extensive documentation of how Josephine distributed their couple's pieces, paintings acquired from Sanborn lack [[provenance]] proving the family willingly gifted the trove of pieces Sanborn reported finding in their attic.<ref>{{cite web |last1=Cole |first1=Alison |last2=Voon |first2=Claire |title=Edward Hopper's treasure trove of artworks was left to the Whitney—so why did some of it end up in the hands of a local reverend? |url=https://www.theartnewspaper.com/2022/10/31/edward-hoppers-treasure-trove-of-artworks-was-left-to-the-whitneyso-why-did-some-of-it-end-up-in-the-hands-of-a-local-reverend |website=The Art Newspaper |date=October 31, 2022 |access-date=November 1, 2022}}</ref> The [[Museum of Modern Art]] in New York, [[Des Moines Art Center]], and [[Art Institute of Chicago]] all have significant collections of Hopper paintings.

== Art ==

=== Personality and vision ===
Always reluctant to discuss himself and his art, Hopper simply said, "The whole answer is there on the canvas."<ref name="Maker 1990, p. 17" /> Hopper was stoic and fatalistic—a quiet introverted man with a gentle sense of humor and a frank manner. Hopper was someone drawn to an emblematic, anti-narrative [[Symbolism (arts)|symbolism]],<ref>{{cite journal |last=Anfam |first=David |title=Review of 'A Catalogue Raisonné by Gail Levin' |journal=The Burlington Magazine |year=1999}}</ref> who "painted short isolated moments of configuration, saturated with suggestion".<ref>{{cite book |last=Strand |first=Mark |title=Hopper |publisher=Knopf |year=1994 |isbn=9780307701244}}</ref> His silent spaces and uneasy encounters "touch us where we are most vulnerable",<ref>{{cite magazine |last=Berman |first=Avis |title=Hopper the Supreme American Realist of the 20th Century |magazine=Smithsonian Magazine |date=June 2007}}</ref> and have "a suggestion of melancholy, that melancholy being enacted".<ref>{{cite magazine |last=Strand |first=Mark |title=Review of 'Hopper Drawing' Whitney Museum 2013 |magazine=The New York Review of Books |date=June 2015}}</ref> His sense of color revealed him as a pure painter,<ref>{{cite magazine |title=Carnegie Traces Hopper's Rise to Fame |magazine=Art Digest |date=April 1937}}</ref> as he "turned the [[Puritan]] into the purist, in his quiet canvasses where blemishes and blessings balance".<ref>{{cite magazine |title=The Silent Witness |magazine=[[Time (magazine)|Time]] |date=December 24, 1956}}</ref> According to critic [[Lloyd Goodrich]], he was "an eminently native painter, who more than any other was getting more of the quality of America into his canvases".<ref>Maker, Sherry, ''Edward Hopper'', Brompton Books, New York, 1990, p. 6, {{ISBN|0-517-01518-8}}</ref><ref>{{cite journal |last=Goodrich |first=Lloyd |title=The Paintings of Edward Hopper |journal=The Arts |date=March 1927}}</ref>

Conservative in politics and social matters (Hopper asserted for example that "artists' lives should be written by people very close to them"),<ref>{{cite book |last=Kuh |first=Katharine |title=The Artist's Voice: Talks with Seventeen Artists |location=New York |publisher=Harper and Row |year=1960}}</ref> 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.<ref>{{harvnb|Wagstaff|2004|p=88}}</ref> 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.<ref>{{harvnb|Wagstaff|2004|pp=84–86}}</ref>

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'':

{{quote|text=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.|author=Edward Hopper|source=Published as part of "Statements by Four Artists" in ''Reality'', vol. 1, no. 1 (Spring 1953). Hopper's handwritten draft is reproduced in Levin, ''Edward Hopper: An Intimate Biography'', p. 461.}}

Though Hopper claimed that he didn't consciously embed psychological meaning in his paintings, he was deeply interested in [[Freud]] and the power of the subconscious mind. He wrote in 1939: "So much of every art is an expression of the subconscious that it seems to me most of all the important qualities are put there unconsciously, and little of importance by the conscious intellect."<ref>{{harvnb|Wagstaff|2004|p=71}}</ref>

=== Methods ===
[[File:Universalist Church (Edward Hopper, 1926).jpg|thumb|''Universalist Church'', 1926, watercolor over graphite on cream wove paper, [[Princeton University Art Museum]]]]

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 paid particular attention to geometrical design and the careful placement of human figures in proper balance with their environment. He was a slow and methodical artist; as he wrote, "It takes a long time for an idea to strike. Then I have to think about it for a long time. I don't start painting until I have it all worked out in my mind. I'm all right when I get to the easel".<ref>{{harvnb|Wagstaff|2004|p=98}}</ref> He often made preparatory sketches to work out his carefully calculated compositions. He and his wife kept a detailed ledger of their works noting such items as "sad face of woman unlit", "electric light from ceiling", and "thighs cooler".<ref>{{harvnb|Levin|2001|p=254}}</ref>

For ''New York Movie'' (1939), Hopper demonstrated his thorough preparation with more than 53 sketches of the theater interior and the figure of the pensive usherette.<ref>{{harvnb|Levin|2001|p=261}}</ref>

The effective use of light and shadow to create mood is also central to Hopper's methods. Bright sunlight (as an emblem of insight or revelation), and the shadows it casts, play symbolically powerful roles in Hopper paintings such as ''[[Early Sunday Morning]]'' (1930), ''Summertime'' (1943), ''Seven A.M.'' (1948), and ''[[Sun in an Empty Room]]'' (1963). His use of light and shadow effects has been compared to the cinematography of [[film noir]].<ref>{{harvnb|Wagstaff|2004|p=92}}</ref>

Although a realist painter, Hopper's "soft" realism simplified shapes and details. He used saturated color to heighten contrast and create mood.

=== Subjects and themes ===
Hopper derived his subject matter from two primary sources: the common features of American life (such as gas stations, motels, restaurants, theaters, railroads, and street scenes) and their inhabitants; and 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]]".<ref name="Wagstaff 2004, p. 13">{{harvnb|Wagstaff|2004|p=13}}</ref> Once Hopper achieved his mature style, his art remained consistent and self-contained, despite the numerous art trends that came and went during his long career.<ref name="Wagstaff 2004, p. 13" />

Hopper's seascapes fall into three main groups: pure landscapes of rocks, sea, and beach grass; lighthouses and farmhouses; and sailboats. Sometimes he combined these elements. Most of these paintings depict strong light and fair weather; he showed little interest in snow or rain scenes, or in seasonal color changes. He painted the majority of the pure seascapes between 1916 and 1919 on [[Monhegan Island]].<ref>{{harvnb|Levin|2001|pp=130–145}}</ref> Hopper's ''The Long Leg'' (1935) is a nearly all-blue sailing picture with the simplest of elements, while his ''[[Ground Swell (painting)|Ground Swell]]'' (1939) is more complex and depicts a group of youngsters out for a sail, a theme reminiscent of [[Winslow Homer]]'s iconic ''[[Breezing Up (A Fair Wind)]]'' (1876).<ref>{{harvnb|Levin|2001|p=266}}</ref>

Urban architecture and cityscapes were also major subjects for Hopper. He was fascinated with the American urban scene, "our native architecture with its hideous beauty, its fantastic roofs, pseudo-gothic, French [[Mansard]], Colonial, mongrel or what not, with eye-searing color or delicate harmonies of faded paint, shouldering one another along interminable streets that taper off into swamps or dump heaps."<ref>{{harvnb|Wagstaff|2004|p=67}}</ref>

In 1925, he produced ''House by the Railroad''. This classic work depicts an isolated [[Victorian architecture|Victorian]] wood mansion, partly obscured by the raised embankment of a railroad. It marked Hopper's artistic maturity. Lloyd Goodrich praised the work as "one of the most poignant and desolating pieces of realism".<ref>{{harvnb|Wagstaff|2004|p=229}}</ref> The work is the first of a series of stark rural and urban scenes that use sharp lines and large shapes, played upon by unusual lighting to capture the lonely mood of his subjects. Although critics and viewers interpret meaning and mood in these cityscapes, Hopper insisted, "I was more interested in the sunlight on the buildings and on the figures than any symbolism."<ref name="Wagstaff 2004, p. 12">{{harvnb|Wagstaff|2004|p=12}}</ref> As if to prove the point, his late painting ''Sun in an Empty Room'' (1963) is a pure study of sunlight.<ref>{{harvnb|Wagstaff|2004|p=28}}</ref>

Most of Hopper's figure paintings focus on the subtle interaction of human beings with their environment—carried out with solo figures, couples, or groups. His primary emotional themes are solitude, loneliness, regret, boredom, and resignation. He expresses these emotions in various environments, including the office, in public places, in apartments, on the road, or on vacation.<ref>{{harvnb|Wagstaff|2004|pp=70–71}}</ref> As if he were creating stills for a movie or tableaux in a play, Hopper positioned his characters as if they were captured just before or just after the climax of a scene.<ref>{{harvnb|Goodrich|1971}}</ref>

Hopper's solitary figures are mostly women—dressed, semi-clad, and nude—often reading or looking out a window, or in the workplace. In the early 1920s, Hopper painted his first such images: ''Girl at Sewing Machine'' (1921), ''New York Interior'' (another woman sewing) (1921), and ''Moonlight Interior'' (a nude getting into bed) (1923). ''Automat'' (1927) and ''Hotel Room'' (1931), however, are more representative of his mature style, emphasizing solitude more overtly.<ref>{{harvnb|Levin|2001|pp=169, 213}}</ref>

As Hopper scholar Gail Levin wrote of ''Hotel Room'':

{{quote|The spare vertical and diagonal bands of color and sharp electric shadows create a concise and intense drama in the night... Combining poignant subject matter with such a powerful formal arrangement, Hopper's composition is pure enough to approach an almost abstract sensibility, yet layered with a poetic meaning for the observer.<ref>{{harvnb|Levin|2001|p=212}}</ref>}}

Hopper's ''Room in New York'' (1932) and ''Cape Cod Evening'' (1939) are prime examples of his "couple" paintings. In the first, a young couple appear alienated and uncommunicative—he reading the newspaper while she idles by the piano. The viewer takes on the role of a voyeur, as if looking with a telescope through the window of the apartment to spy on the couple's lack of intimacy. In the latter painting, an older couple with little to say to each other are playing with their dog, whose own attention is drawn away from his masters.<ref name="Levin 2001, p. 220, 264">{{harvnb|Levin|2001|pp=220, 264}}</ref> Hopper takes the couple theme to a more ambitious level with ''Excursion into Philosophy'' (1959). A middle-aged man sits dejectedly on the edge of a bed. Beside him lies an open book and a partially clad woman. A shaft of light illuminates the floor in front of him. Jo Hopper noted in their log book, "[T]he open book is [[Plato]], reread too late".

Levin interprets the painting:

{{quote|Plato's philosopher, in search of the real and the true, must turn away from this transitory realm and contemplate the eternal Forms and Ideas. The pensive man in Hopper's painting is positioned between the lure of the earthly domain, figured by the woman, and the call of the higher spiritual domain, represented by the ethereal lightfall. The pain of thinking about this choice and its consequences, after reading Plato all night, is evident. He is paralysed by the fervent inner labour of the [[Depression (mood)|melancholic]].<ref>{{harvnb|Wagstaff|2004|p=55}}</ref>}}

In ''[[Office at Night]]'' (1940), another "couple" painting, Hopper creates a psychological puzzle. The painting shows a man focusing on his work papers, while nearby his attractive female secretary pulls a file. Several studies for the painting show how Hopper experimented with the positioning of the two figures, perhaps to heighten the [[eroticism]] and the tension. Hopper presents the viewer with the possibilities that the man is either truly uninterested in the woman's appeal or that he is working hard to ignore her. Another interesting aspect of the painting is how Hopper employs three light sources,<ref name="Levin 2001, p. 220, 264" /> from a desk lamp, through a window and indirect light from above. Hopper went on to make several "office" pictures, but no others with a sensual undercurrent.

[[File:Nighthawks by Edward Hopper 1942.jpg|thumb|''[[Nighthawks (painting)|Nighthawks]]'' (1942)]]
The best-known of Hopper's paintings, ''[[Nighthawks (painting)|Nighthawks]]'' (1942), is one of his paintings of groups. It shows customers sitting at the counter of an all-night diner. The shapes and diagonals are carefully constructed. The viewpoint is cinematic—from the sidewalk, as if the viewer were approaching the restaurant. The diner's harsh electric light sets it apart from the dark night outside, enhancing the mood and subtle emotion.<ref>{{harvnb|Levin|2001|p=288}}</ref> As in many Hopper paintings, the interaction is minimal. The restaurant depicted was inspired by one in Greenwich Village. Both Hopper and his wife posed for the figures, and Jo Hopper gave the painting its title. The inspiration for the picture may have come from [[Ernest Hemingway]]'s short story "[[The Killers (Hemingway short story)|The Killers]]", which Hopper greatly admired,<ref>Hopper wrote: "I want to compliment you for printing Ernest Hemingway's "The Killers" in the March ''Scribner's''. It is refreshing to come upon such a honest piece of work in an American magazine, after wading through the vast sea of sugar coated mush that makes up the most of our fiction. Of the concessions to popular prejudices, the side stepping of truth, and the ingenious mechanism of the trick ending there is no taint in this story.", Edward Hopper to the editor, ''Scribner's Magazine'', 82 (June 1927), p. 706d, quoted in {{harvtxt|Levin|1979b|p=[https://archive.org/details/edwardho00levi/page/6/mode/2up 7]}}, {{harvtxt|Levin|1979b|loc=[https://archive.org/details/edwardho00levi/page/n73/mode/2up note 25]}}</ref> or from the more philosophical "[[A Clean, Well-Lighted Place]]".<ref>{{harvnb|Wagstaff|2004|p=44}}</ref> The mood of the painting has sometimes been interpreted as an expression of wartime anxiety.<ref name="metmuseum">{{cite web |url=https://www.metmuseum.org/toah/hd/hopp/hd_hopp.htm |title=Edward Hopper (1882–1967) |first=Jessica |last=Murphy |date=June 2007 |website=Metropolitan Museum of Art |access-date=April 22, 2020}}</ref> In keeping with the title of his painting, Hopper later said, ''Nighthawks'' has more to do with the possibility of predators in the night than with loneliness.<ref>{{harvnb|Levin|1995b|p=350}}</ref>

His second most recognizable painting after ''Nighthawks'' is another urban painting, ''[[Early Sunday Morning]]'' (originally called ''Seventh Avenue Shops''), which shows an empty street scene in sharp side light, with a fire hydrant and a [[barber pole]] as stand-ins for human figures. Originally Hopper intended to put figures in the upstairs windows but left them empty to heighten the feeling of desolation.<ref>{{harvnb|Levin|2001|p=198}}</ref>

Hopper's rural [[New England]] scenes, such as ''[[Gas (painting)|Gas]]'' (1940), are no less meaningful. ''Gas'' represents "a different, equally clean, well-lighted refuge ... ke[pt] open for those in need as they navigate the night, traveling their own miles to go before they sleep."<ref>{{cite book |last=Wells |first=Walter |title=Silent Theater: The Art of Edward Hopper |location=London/New York |publisher=Phaidon Press |year=2007 |isbn=978-0714845418}}</ref> The work presents a fusion of several Hopper themes: the solitary figure, the melancholy of dusk, and the lonely road.<ref>{{harvnb|Levin|2001|p=278}}</ref>

Hopper's ''[[Rooms by the Sea]]'' (1951), shows an open door with a view of the ocean, without an apparent ladder or steps and no indication of a beach.<ref>{{harvnb|Maker|1990|p=37}}</ref>

After his student years, Hopper's nudes were all women. Unlike past artists who painted the female nude to glorify the female form and to highlight female eroticism, Hopper's nudes are solitary women who are psychologically exposed.<ref>{{harvnb|Wagstaff|2004|p=20}}</ref> One audacious exception is ''Girlie Show'' (1941), where a red-headed strip-tease queen strides confidently across a stage to the accompaniment of the musicians in the pit. ''Girlie Show'' was inspired by Hopper's visit to a [[American burlesque|burlesque]] show a few days earlier. Hopper's wife, as usual, posed for him for the painting, and noted in her diary, "Ed beginning a new canvas—a burlesque queen doing a strip tease—and I posing without a stitch on in front of the stove—nothing but high heels in a lottery dance pose."<ref>{{harvnb|Levin|2001|p=282}}</ref>

Hopper's portraits and self-portraits were relatively few after his student years.<ref>{{harvnb|Levin|2001|p=162}}</ref> Hopper did produce a commissioned "portrait" of a house, ''The MacArthurs' Home'' (1939), where he faithfully details the Victorian architecture of the home of actress [[Helen Hayes]]. She reported later, "I guess I never met a more misanthropic, grumpy individual in my life." Hopper grumbled throughout the project and never again accepted a commission.<ref>{{harvnb|Levin|2001|p=268}}</ref> Hopper also painted ''Portrait of Orleans'' (1950), a "portrait" of the Cape Cod town from its main street.<ref>{{harvnb|Levin|2001|p=332}}</ref>

Though very interested in the [[American Civil War]] and [[Mathew Brady]]'s battlefield photographs, Hopper made only two historical paintings. Both depicted soldiers on their way to [[Battle of Gettysburg|Gettysburg]].<ref>{{harvnb|Levin|2001|p=274}}</ref> Also rare among his themes are paintings showing action. The best example of an action painting is ''Bridle Path'' (1939), but Hopper's struggle with the proper anatomy of the horses may have discouraged him from similar attempts.<ref>{{harvnb|Levin|2001|p=262}}</ref>

Hopper's final oil painting, ''[[Two Comedians]]'' (1966), painted one year before his death, focuses on his love of the theater. Two French [[pantomime]] actors, one male and one female, both dressed in bright white costumes, take their bow in front of a darkened stage. Jo Hopper confirmed that her husband intended the figures to suggest they are taking their life's last bows together as husband and wife.<ref>{{harvnb|Levin|2001|p=380}}</ref>

Hopper's paintings have often been seen by others as having a narrative or thematic content that the artist may not have intended. Much meaning can be added to a painting by its title, but the titles of Hopper's paintings were sometimes chosen by others, or were selected by Hopper and his wife in a way that makes it unclear whether they have any real connection with the artist's meaning. For example, Hopper once told an interviewer that he was "fond of ''[[Early Sunday Morning]]''... but it wasn't necessarily Sunday. That word was tacked on later by someone else."<ref>{{cite book |last=Kuh |first=Katharine |title=The Artist's Voice: Talks with Seventeen Modern Artists |location=New York |publisher=Da Capo |year=2000 |page=134}}</ref>

The tendency to read thematic or narrative content into Hopper's paintings, that Hopper had not intended, extended even to his wife. When Jo Hopper commented on the figure in ''Cape Cod Morning'' "It's a woman looking out to see if the weather's good enough to hang out her wash," Hopper retorted, "Did I say that? You're making it Norman Rockwell. From my point of view she's just looking out the window."<ref>{{harvnb|Levin|2001|p=334}}</ref>

{{quote|Hopper's ''Summer Evening'', a young couple talking in the harsh light of a cottage porch, is inescapably romantic, but Hopper was hurt by one critic's suggestion that it would do for an illustration in "any woman's magazine." Hopper had the painting in the back of his head "for 20 years and I never thought of putting the figures in until I actually started last summer. Why any art director would tear the picture apart. The figures were not what interested me; it was the light streaming down, and the night all around."|''Time'', January 19, 1948, pp. 59–60.<ref>{{cite magazine |title=Travelling Man |magazine=Time |date=January 19, 1948 |pages=59–60}}</ref>}}

=== Place in American art ===
[[File:New york restaurant by edward hopper.jpg|thumb|''New York Restaurant'' (1922)]]
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.<ref name="Maker 1990, p. 17" /> 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".<ref>{{harvnb|Maker|1990|p=43}}</ref>

[[Charles Burchfield]], whom Hopper admired and to whom he was compared, said of Hopper, "he achieves such a complete verity that you can read into his interpretations of houses and conceptions of New York life any human implications you wish."<ref>{{harvnb|Maker|1990|p=65}}</ref> He also attributed Hopper's success to his "bold individualism. ... In him we have regained that sturdy American independence which [[Thomas Eakins]] gave us, but which for a time was lost."<ref>{{harvnb|Wagstaff|2004|p=15}}</ref> Hopper considered this a high compliment since he considered Eakins the greatest American painter.<ref>{{harvnb|Wagstaff|2004|p=23}}</ref>

Hopper scholar Deborah Lyons writes, "Our own moments of revelation are often mirrored, transcendent, in his work. Once seen, Hopper's interpretations exist in our consciousness in tandem with our own experience. We forever see a certain type of house as a Hopper house, invested perhaps with a mystery that Hopper implanted in our own vision." Hopper's paintings highlight the seemingly mundane and typical scenes in our everyday life and give them cause for epiphany. In this way Hopper's art takes the gritty American landscape and lonely gas stations and creates within them a sense of beautiful anticipation.<ref>{{cite book |last=Lyons |first=Deborah |title=Edward Hopper and The American Imagination |location=New York |publisher=Norton |year=1995 |page=xii |isbn=0-393-31329-8}}</ref>

Although compared to his contemporary [[Norman Rockwell]] in terms of subject matter, Hopper did not like the comparison. Hopper considered himself more subtle, less illustrative, and certainly not sentimental. Hopper also rejected comparisons with [[Grant Wood]] and [[Thomas Hart Benton (painter)|Thomas Hart Benton]] stating "I think the American Scene painters caricatured America. I always wanted to do myself."<ref>{{harvnb|Maker|1990|p=19}}</ref>

=== Influence ===
Hopper's influence on the art world and pop culture is undeniable; see {{slink||In popular culture}} for numerous examples. Though he had no formal students, many artists have cited him as an influence, including [[Willem de Kooning]], [[Jim Dine]], and [[Mark Rothko]].<ref name="Wagstaff 2004, p. 13">{{harvnb|Wagstaff|2004|p=13}}</ref> 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''.<ref>{{harvnb|Wagstaff|2004|p=36}}</ref>

Hopper's cinematic compositions and dramatic use of light and dark have made him a favorite among filmmakers. For example, ''House by the Railroad'' is reported to have heavily influenced the iconic house in the [[Alfred Hitchcock]] film ''[[Psycho (1960 film)|Psycho]]''.<ref>{{harvnb|Wagstaff|2004|p=234}}</ref> The same painting has also been cited as being an influence on the home in the [[Terrence Malick]] film ''[[Days of Heaven]]''. The 1981 film ''[[Pennies from Heaven (1981 film)|Pennies from Heaven]]'' includes a [[tableau vivant]] of ''Nighthawks'', with the lead actors in the places of the diners. German director [[Wim Wenders]] also cites Hopper influence.<ref name="Wagstaff 2004, p. 13" /> His 1997 film ''[[The End of Violence]]'' also incorporates a tableau vivant of ''Nighthawks'', recreated by actors. Noted surrealist horror film director [[Dario Argento]] went so far as to recreate the diner and the patrons in ''Nighthawks'' as part of a set for his 1976 film ''[[Deep Red]]'' (aka ''Profondo Rosso''). [[Ridley Scott]] has cited the same painting as a visual inspiration for ''[[Blade Runner]]''. To establish the lighting of scenes in the 2002 film ''[[Road to Perdition]]'', director [[Sam Mendes]] drew from the paintings of Hopper as a source of inspiration, particularly ''New York Movie''.<ref>{{cite news |first=Ray |last=Zone |url=http://www.theasc.com/magazine/aug02/perdition/sidebar1.html |title=A Master of Mood |work=[[American Cinematographer]] |access-date=June 6, 2007 }}</ref> The Austrian filmmaker [[Gustav Deutsch]] based a movie on 13 of Hopper’s paintings.<ref>{{cite web |last=Bortzmeyer |first=Gabriel |title=Shirley, Gustav Deutsch |url=http://debordements.fr/Shirley-Gustav-Deutsch/ |website=Débordements.fr |date=September 16, 2014 |access-date=January 20, 2025}}</ref> 

Homages to ''Nighthawks'' featuring cartoon characters or famous pop culture icons such as [[James Dean]] and [[Marilyn Monroe]] are often found in poster stores and gift shops. The cable television channel [[Turner Classic Movies]] sometimes runs animated clips based on Hopper paintings prior to airing its films. Musical influences include singer-songwriter [[Tom Waits]]'s 1975 live-in-the-studio album titled ''[[Nighthawks at the Diner]]'', after the painting. In 1993, [[Madonna (entertainer)|Madonna]] was inspired sufficiently by Hopper's 1941 painting ''Girlie Show'' that she named her [[The Girlie Show Tour|world tour]] after it and incorporated many of the theatrical elements and mood of the painting into the show. In 2004, British guitarist [[John Squire]] (formerly of [[The Stone Roses]]) released a [[concept album]] based on Hopper's work entitled ''[[Marshall's House]]''. Each song on the album is inspired by, and shares its title with, a painting by Hopper. Canadian rock group [[The Weakerthans]] released their album [[Reunion Tour (album)|Reunion Tour]] in 2007 featuring two songs inspired by and named after Hopper paintings, "Sun in an Empty Room", and "Night Windows", and have also referenced him in songs such as "Hospital Vespers". Hopper's ''Compartment C, Car 293'' inspired Polish composer [[Paweł Szymański]]'s ''Compartment 2, Car 7'' for violin, viola, cello and [[vibraphone]] (2003), as well as [[Hubert-Félix Thiéfaine]]'s song ''Compartiment C Voiture 293 Edward Hopper 1938'' (2011). Hopper's work has influenced multiple recordings by British band [[Orchestral Manoeuvres in the Dark]]. ''Early Sunday Morning'' was the inspiration for the sleeve of ''[[Crush (Orchestral Manoeuvres in the Dark album)|Crush]]'' (1985).{{citation needed|date=July 2022}} The same band's 2013 single "[[English Electric (album)|Night Café]]" was influenced by ''Nighthawks'' and mentions Hopper by name. Seven of his paintings are referenced in the lyrics.<ref name="slicingupeyeballs.com">{{cite web |url=http://www.slicingupeyeballs.com/2013/08/05/stream-omd-night-cafe-vile-electrodes-remix/ |title=Premiere: OMD, 'Night Café' (Vile Electrodes 'B-Side the C-Side' Remix) |website=Slicing Up Eyeballs |date=August 5, 2013 |access-date=September 25, 2013}}</ref>

In poetry, numerous poems have been inspired by Hopper's paintings, typically as vivid descriptions and dramatizations; this genre is known as [[ekphrasis]]. In addition to numerous individual poems inspired by Hopper, several poets have written collections based on Hopper's paintings. The French poet [[Claude Esteban]] wrote a collection of [[prose poem]]s, ''[[:fr:Soleil dans une pièce vide|Soleil dans une pièce vide]]'' (''Sun in an Empty room'', 1991), based on forty-seven Hopper paintings from between 1921 and 1963, ending with ''Sun in an Empty room'' (1963), hence the title.<ref>{{cite web |title=Trois fenêtres, la nuit (Night Windows) |url=https://bergerault-univ-tours.fr/doc/doc14.pdf |access-date=April 3, 2025}}</ref> The poems each dramatized a Hopper painting, imagining a story behind the scene; the book won the [[Prix France Culture]] prize in 1991. Eight of the poems – ''Ground Swell'', ''Girl at Sewing Machine'', ''Compartment C, Car 293'', ''Nighthawks'', ''South Carolina Morning'', ''House by the Railroad'', ''People in the Sun'', and ''Roofs of Washington Square'' – were subsequently set to music by composer [[Graciane Finzi]], and recorded with reading by the singer [[Natalie Dessay]] on her album ''Portraits of America'' (2016), where they were supplemented by selecting ten additional Hopper paintings, and songs from the [[American songbook]] to go with them.<ref>{{cite web |url=https://www.nataliedessay.fr/2016/11/24/pictures-of-america/ |title=Pictures of America |date=November 24, 2016 |archive-url=https://web.archive.org/web/20170202162834/https://www.nataliedessay.fr/2016/11/24/pictures-of-america/ |archive-date=February 2, 2017 |access-date=April 3, 2025}}</ref> Similarly, the Spanish poet {{ill|Ernest Farrés|ca|Ernest Farrés i Junyent}} wrote a collection of fifty-one poems in [[Catalan language|Catalan]], under the name ''Edward Hopper'' (2006, English translation 2010 by Lawrence Venuti), and James Hoggard wrote ''Triangles of Light: The Edward Hopper Poems'' (Wings Press, 2009). A collection by various poets was organized in ''The Poetry of Solitude: A Tribute to Edward Hopper'' 1995 (editor [[Gail Levin (art historian)|Gail Levin]]). Individual poems include Byron Vazakas (1957) and John Stone (1985) inspired by ''[[Early Sunday Morning]]'', and [[Mary Leader]] inspired by ''[[Girl at Sewing Machine]]''.

=== Exhibitions ===

In 1980, the show ''Edward Hopper: The Art and the Artist'' opened at the [[Whitney Museum of American Art]] and toured to the San Francisco Museum of Modern Art, the Museum of Fine Arts in Boston, the Art Institute of Chicago, the Tate Gallery in London, the Kunsthalle Düsseldorf, and the Stedelijk Museum in Amsterdam.<ref>{{harvnb|Levin|1980}}</ref> It was the first major retrospective to present Hopper's oil paintings alongside his preparatory sketches and drawings.

In 2004, a large selection of Hopper's paintings toured Europe, visiting the [[Museum Ludwig]] in Cologne, Germany, and the [[Tate Modern]] in London. The Tate exhibition became the second most visited in the gallery’s history at the time, with more than 420,000 visitors.<ref>{{cite web |title=Edward Hopper at Tate Modern |url=https://www.tate.org.uk/whats-on/tate-modern/edward-hopper |website=Tate |access-date=April 3, 2025}}</ref>

In 2007, an exhibition focused on the period of Hopper's greatest achievements—from about 1925 to mid-century—was presented at the [[Museum of Fine Arts, Boston]]. The show included fifty oil paintings, thirty watercolors, and twelve prints, including ''Nighthawks'', ''Chop Suey'', and ''Lighthouse and Buildings''. It was organized by the Museum of Fine Arts, the [[National Gallery of Art]] in Washington, and the [[Art Institute of Chicago]].<ref>{{cite web |title=Edward Hopper |url=https://www.mfa.org/exhibitions/edward-hopper |website=Museum of Fine Arts, Boston |access-date=April 3, 2025}}</ref>

In 2010, the [[Fondation de l'Hermitage]] in Lausanne, Switzerland, held an exhibition covering Hopper's entire career, with works drawn largely from the Whitney Museum in New York City. It included paintings, watercolors, etchings, cartoons, posters, and preparatory studies for selected paintings. The exhibition had previously been displayed in Milan and Rome.<ref>{{cite web |title=Edward Hopper |url=https://fondation-hermitage.ch/en/home/expositions/en-cours/ |website=Fondation de l'Hermitage |access-date=April 3, 2025}}</ref>

In 2012, a major exhibition opened at the [[Grand Palais]] in Paris. Divided into two parts, it covered Hopper's formative years (1900–1924), with comparisons to his contemporaries and French influences, and his mature style from 1925 onward, featuring works like ''House by the Railroad''.<ref>{{cite web |title=Edward Hopper |url=https://www.grandpalais.fr/en/event/edward-hopper |website=Grand Palais |access-date=April 3, 2025}}</ref>

In 2020, the [[Fondation Beyeler]] in Switzerland staged an exhibition emphasizing Hopper’s representations of American landscapes and cityscapes, curated in collaboration with the Whitney Museum.<ref>{{cite web |author=Fondation Beyeler |date=2020 |title=Edward Hopper |url=https://www.fondationbeyeler.ch/en/exhibitions/past-exhibitions/edward-hopper |access-date=January 3, 2021 |website=Fondation Beyeler}}</ref>

From 2022 to 2023, the Whitney Museum mounted ''Edward Hopper’s New York'', which explored the artist's relationship with the city he called home for nearly sixty years.<ref>{{cite web |url=https://whitney.org/exhibitions/edward-hopper-new-york |title=Edward Hopper's New York |website=Whitney Museum |access-date=October 24, 2022}}</ref>

===Art market===
Works by Hopper rarely appear on the market. The artist was not prolific, painting just 366 canvases; during the 1950s, when he was in his 70s, he produced approximately five paintings a year.

Hopper's longtime dealer, Frank Rehn, who gave the artist his first solo show in 1924, sold ''Hotel Window'' (1956) to collector Olga Knoepke for $7,000 ({{Inflation|US|7000|1957|fmt=eq}}) in 1957. In 1999, the Forbes Collection sold it to actor [[Steve Martin]] privately for around $10&nbsp;million. In 2006, Martin sold it for $26.89&nbsp;million at [[Sotheby's]] New York, an auction record for the artist at that time.<ref>{{cite news |last=Vogel |first=Carol |title=Edward Hopper Paintings Change at Whitney Show |url=https://www.nytimes.com/2006/10/06/arts/design/06voge.html |work=[[The New York Times]] |date=October 6, 2006 |access-date=April 2, 2025}}</ref><ref>{{cite news |last=Pollock |first=Linsay |title=Steve Martin Hopper, Wistful Rockwell Break Auction Records |url=http://www.bloomberg.com/apps/news?pid=newsarchive&sid=aRepCiBBQn7Q |work=[[Bloomberg News|Bloomberg]] |date=November 29, 2006 |access-date=April 2, 2025 |archive-date=September 30, 2015 |archive-url=https://web.archive.org/web/20150930020943/http://www.bloomberg.com/apps/news?pid=newsarchive&sid=aRepCiBBQn7Q&refer=muse}}</ref>

In 2013, the [[Pennsylvania Academy of the Fine Arts]] in [[Philadelphia]] put Hopper's ''[[East Wind Over Weehawken]]'' (1934) up for sale, hoping to garner $22–$28&nbsp;million to establish a fund to acquire contemporary art.<ref>{{cite news |last=Salisbury |first=Stephan |title=Pennsylvania Academy to sell Hopper painting |url=http://articles.philly.com/2013-08-29/news/41542141_1_edward-hopper-hopper-painting-crystal-bridges-museum |work=Philly.com |date=August 29, 2013 |access-date=April 2, 2025 |archive-date=October 22, 2013 |archive-url=https://web.archive.org/web/20131022184912/http://articles.philly.com/2013-08-29/news/41542141_1_edward-hopper-hopper-painting-crystal-bridges-museum}}</ref><ref name="JerseyJournal" /> The painting, a street scene rendered in dark, earthy tones depicting the gabled house at 1001 [[Boulevard East]] at the corner of 49th Street in [[Weehawken, New Jersey]], is considered one of Hopper's best works.<ref>{{cite news |last=Schwartz |first=Art |title=Hopper comes home: Woman buys modern version of $40M painting depicting her house on Boulevard East |url=http://hudsonreporter.com/view/full_story/24301673/article-Hopper-comes-home--Woman-buys-modern-version-of-%2440M-painting-depicting-her-house-on-Boulevard-East-- |work=Hudson Reporter |date=December 29, 2013 |access-date=April 2, 2025 |archive-date=April 9, 2016 |archive-url=https://web.archive.org/web/20160409184318/http://hudsonreporter.com/view/full_story/24301673/article-Hopper-comes-home--Woman-buys-modern-version-of-%2440M-painting-depicting-her-house-on-Boulevard-East--?instance=search_results}}</ref> It was acquired directly from the dealer handling the artist's paintings in 1952, fifteen years before the death of the painter. The painting sold for a record-breaking $36&nbsp;million at [[Christie's]] in New York, to an anonymous telephone bidder.<ref name="JerseyJournal">{{cite news |last=Carswell |first=Vonecia |title=1934 'East Wind Over Weehawken' painting sells for $36M at Christie's auction |url=http://www.nj.com/jjournal-news/index.ssf/2013/12/1934_east_wind_over_weehawken.html |work=The Jersey Journal |date=December 6, 2013 |access-date=April 2, 2025}}</ref>

In 2018, after the death of art collector [[Barney A. Ebsworth]] and the subsequent auction of many pieces from his collection, ''[[Chop Suey (painting)|Chop Suey]]'' (1929) was sold for $91.9&nbsp;million, becoming the most expensive of Hopper's works ever bought at auction.<ref>{{cite web |url=https://www.bbc.co.uk/news/entertainment-arts-46205604 |title=Hopper's Chop Suey in record-breaking $92m sale |date=November 14, 2018 |website=BBC News |access-date=April 2, 2025}}</ref><ref>{{cite news |last=Reyburn |first=Scott |title=Hopper Painting Sells for Record $91.9 Million at Christie's |url=https://www.nytimes.com/2018/11/13/arts/design/hopper-painting-christies-auction.html |work=The New York Times |date=November 13, 2018 |access-date=April 2, 2025}}</ref>

== In popular culture ==

In addition to his influence (see {{slink||Influence}}), Hopper is frequently referenced in popular culture.

In 1981, ''Hopper's Silence'', a documentary by Brian O'Doherty produced by the Whitney Museum of American Art, was shown at the [[New York Film Festival]] at [[Alice Tully Hall]].<ref>{{cite magazine |last=Lor. |date=October 21, 1981 |title=Film Reviews: Hopper's Silence |magazine=[[Variety (magazine)|Variety]]}}</ref>

Austrian director [[Gustav Deutsch]] created the 2013 film ''Shirley – Visions of Reality'' based on 13 of Edward Hopper's paintings.<ref name="phaidon">{{cite web |title=Edward Hopper comes to the silver screen |url=https://www.phaidon.com/agenda/art/articles/2013/february/11/edward-hopper-comes-to-the-silver-screen/ |publisher=Phaidon Press |date=February 11, 2013 |access-date=April 3, 2025}}</ref>

Other works based on or inspired by Hopper's paintings include Tom Waits's 1975 album ''[[Nighthawks at the Diner]]'', and a 2012 series of photographs by [[Gail Albert Halaban]].<ref name="phaidon" /><ref>{{cite news |last=Bosman |first=Julie |title=The Original Hoppers |url=https://www.nytimes.com/interactive/2012/07/22/magazine/hopper-houses.html |work=[[The New York Times]] |date=July 20, 2012 |access-date=April 3, 2025}}</ref>

In the book (1985, 1998) and traveling exhibition called ''Hopper's Places'', [[Gail Levin (art historian)|Gail Levin]] located and photographed the sites for many of Hopper's paintings. In her 1985 review of a related show organized by Levin, Vivien Raynor wrote in ''The New York Times'': "Miss Levin's deductions are invariably enlightening, as when she infers that Hopper's tendency to elongate structures was a reflection of his own great height."<ref>{{cite news |last=Raynor |first=Vivian |title=Art: The Unusual, The Instructive And The Mysterious At Rutgers |url=https://www.nytimes.com/1985/10/20/nyregion/art-the-unusual-the-instructive-and-the-mysterious-at-rutgers.html |work=[[The New York Times]] |date=October 20, 1985 |access-date=April 3, 2025}}</ref>

New wave band [[Orchestral Manoeuvres in the Dark]]'s 1985 album ''[[Crush (Orchestral Manoeuvres in the Dark album)|Crush]]'' features artwork inspired by several Hopper paintings, including ''Early Sunday Morning'', ''Nighthawks'', and ''Room in New York''.<ref>{{cite web|url=https://www.nevermindthebuspass.co.uk/classic-album-covers-crush-omd/|title=Classic album covers: Crush–OMD|access-date=May 28, 2017|publisher=Never Mind the Bus Pass}}</ref> The band's 2013 single "Night Café" was influenced by ''Nighthawks'' and mentions Hopper by name. Seven of his paintings are referenced in the lyrics.

The [[New York City Opera]] staged the East Coast premiere of [[Stewart Wallace]]'s "Hopper's Wife"—a 1997 [[chamber opera]] about an imagined marriage between Edward Hopper and the [[gossip columnist]] [[Hedda Hopper]]—at Harlem Stage in 2016.<ref>{{cite news |last=Bernheimer |first=Martin |title=Hopper's Wife, New York City Opera, New York—'Ramblings and Rumblings' |url=https://www.ft.com/content/8da5d142-1048-11e6-91da-096d89bd2173 |work=[[Financial Times]] |date=May 2, 2016 |access-date=April 3, 2025}}</ref>

Irish novelist [[Christine Dwyer Hickey]] published a novel, ''The Narrow Land'', in 2019 in which Edward and Jo Hopper were central characters.<ref>{{cite news |last=O'Connor |first=Joanne |title=Christine Dwyer Hickey: I lost a kidney and gained a novel |url=https://www.irishtimes.com/culture/books/christine-dwyer-hickey-i-lost-a-kidney-and-gained-a-novel-1.3811160 |work=[[The Irish Times]] |date=March 2, 2019 |access-date=April 3, 2025}}</ref>

[[Paul Weller]] included a song named "Hopper" on his 2017 album ''[[A Kind Revolution]]''.<ref>{{cite web |last=Starkey |first=Arun |title=Edward Hopper, the realist painter that inspired a classic Paul Weller song |url=https://faroutmagazine.co.uk/edward-hopper-the-realist-painter-that-inspired-a-classic-paul-weller-song/ |work=[[Far Out (website)|Far Out]] |date=October 15, 2022 |access-date=April 3, 2025}}</ref>

== Selected works ==
{{Main|List of works by Edward Hopper}}

{| class="wikitable sortable"
|-
! Title
! Medium
! Date
! Collection
! Dimensions
! Image
|-
|''[[Girl at Sewing Machine]]''
|Oil on canvas
|1921
|[[Thyssen-Bornemisza Museum]]
|{{convert|19|x|18|in|cm|abbr=on|disp=br()}}
|[[File:Girl_at_a_Sewing_Machine_-_1921_-_Hopper.jpg|150px|alt=A woman sits at a sewing machine near a window in a softly lit room]]
|-
|''[[House by the Railroad]]''
|Oil on canvas
|1925
|[[Museum of Modern Art]]
|{{convert|24|x|29|in|cm|sigfig=3|abbr=on|disp=br()}}
|[[File:The House by the Railroad by Edward Hopper 1925.jpg|150px|alt=A Victorian house is seen partially obscured by train tracks in the foreground]]
|-
|''[[Automat (Hopper)|Automat]]''
|Oil on canvas
|1927
|[[Des Moines Art Center]]
|{{convert|28.13|x|36|in|cm|sigfig=3|abbr=on|disp=br()}}
|[[File:Automat-edward-hopper-1927.jpg|150px|alt=A woman sits alone at a table with a coffee cup in a brightly lit automat]]
|-
|''[[Manhattan Bridge Loop]]''
|Oil on canvas
|1928
|[[Addison Gallery of American Art]]
|{{convert|35|x|60|in|cm|sigfig=3|abbr=on|disp=br()}}
|[[File:Manhattan-bridge-loop-edward-hopper-1928.jpg|150px|alt=A cityscape with buildings and a bridge structure]]
|-
|''[[Chop Suey (Hopper)|Chop Suey]]''
|Oil on canvas
|1929
|Private collection
|{{convert|32|x|38|in|cm|sigfig=3|abbr=on|disp=br()}}
|[[File:Edward hopper chop suey.jpg|150px|alt=Two women sit at a small table inside a sunlit Chinese restaurant]]
|-
|''[[Early Sunday Morning]]''
|Oil on canvas
|1930
|[[Whitney Museum of American Art]]
|{{convert|35.2|x|60.3|in|cm|sigfig=3|abbr=on|disp=br()}}
|[[File:Early-sunday-morning-edward-hopper-1930.jpg|150px|alt=An empty city street lined with storefronts in the early morning light]]
|-
|''[[New York Movie]]''
|Oil on canvas
|1939
|[[Museum of Modern Art]]
|{{convert|32.25|x|40.13|in|cm|sigfig=3|abbr=on|disp=br()}}
|[[File:Newyork-movie-edward-hopper-1939.jpg|150px|alt=An usherette stands pensively in a theater lobby while patrons sit in the darkened auditorium]]
|-
|''[[Office at Night]]''
|Oil on canvas
|1940
|[[Walker Art Center]], Minneapolis
|{{convert|22.19|x|25.13|in|cm|sigfig=4|abbr=on|disp=br()}}
|[[File:Office-at-night-edward-hopper-1940.jpg|150px|alt=A man works at his desk while a woman stands at a filing cabinet under dramatic lighting]]
|-
|''[[Nighthawks (Hopper)|Nighthawks]]''
|Oil on canvas
|1942
|[[Art Institute of Chicago]]
|{{convert|33.13|x|60|in|cm|abbr=on|disp=br()}}
|[[File:Hopper Nighthawks.jpg|150px|alt=Several people sit at the counter of a brightly lit diner at night]]
|-
|''[[Hotel Lobby]]''
|Oil on canvas
|1943
|[[Indianapolis Museum of Art]]
|{{convert|32.25|x|40.75|in|cm|frac=4|abbr=on|disp=br()}}
|[[File:Hotel-lobby-edward-hopper-1943.jpg|150px|alt=A man and two women sit in a hotel lobby with stark lighting and subdued tones]]
|-
|''Morning Sun''
|Oil on canvas
|1952
|[[Columbus Museum of Art]]
|{{convert|28.1|x|40.1|in|cm|sigfig=3|abbr=on|disp=br()}}
|[[File:Edward Hopper - Morning Sun - c 1952 - Columbus Museum of Art.jpg|150px|alt=A woman sits on a bed gazing out of a sunlit window]]
|}

== Notes ==
{{Reflist}}

== References ==
{{refbegin|30em}}
* {{cite book |last=Clause |first=Bonnie Tocher |title=Edward Hopper in Vermont |location=Hanover, N.H. |publisher=University Press of New England |year=2012}}
* {{cite book |last=Goodrich |first=Lloyd |title=Edward Hopper: The Penguin Modern Painters |location=London |publisher=Penguin |year=1949}}
* {{cite book |last=Goodrich |first=Lloyd |title=Edward Hopper |location=New York |publisher=H. N. Abrams |year=1971}}
* {{cite book |last=Haskell |first=Barbara |title=Modern Life: Edward Hopper and His Time |location=Hamburg |publisher=Bucerius Kunst Forum |year=2009}}
* {{cite news |last=Healy |first=Pat |title=Look at all the lonely people: MFA's 'Hopper' celebrates solitude |newspaper=[[Metro International]] |date=May 8, 2007 |page=18}}
* {{cite book|last=Hopper|first=Edward|title=Edward Hopper|location=New York|publisher=Whitney Museum of American Art|year=1931}}
* {{cite journal|last=Kalin|first=Ian|title=Open Data improves Democracy|journal=SAIS Review of International Affairs|date=2014|volume=34|issue=1|pages=59–70|doi=10.1353/sais.2014.0006|s2cid=154068669}}
* {{cite book |last=Kranzfelder |first=Ivo |title=Hopper |location=New York |publisher=Taschen |year=1994}}
* {{cite book |last=Kuh |first=Katharine |title=The Artist's Voice: Talks with Seventeen Artists |location=New York |publisher=Di Capo Press |year=2000 |pages=130–142}}
* {{cite book |last=Levin |first=Gail |title=Edward Hopper: The Complete Prints |location=New York |publisher=Norton |year=1979a}}
* {{cite book |last=Levin |first=Gail |title=Edward Hopper as Illustrator |location=New York and London |publisher=Norton |year=1979b |isbn=0-393-01243-3 |url=https://archive.org/details/edwardho00levi/mode/2up |language=en}}
* {{cite book |last=Levin |first=Gail |title=Edward Hopper: The Art and the Artist |location=New York |publisher=Norton |year=1980}}
* {{cite book |last=Levin |first=Gail |title=Edward Hopper: Gli anni della formazione |location=Milan |publisher=Electra Editrice |year=1981}}
* {{cite book |last=Levin |first=Gail |title=Edward Hopper |location=New York |publisher=Crown |year=1984}}
* {{cite book |last=Levin |first=Gail |title=Hopper's Places |location=New York |publisher=Knopf |year=1985}}
* {{cite book |last=Levin |first=Gail |title=Edward Hopper: A Catalogue Raisonne |location=New York |publisher=Norton |year=1995a}}
* {{cite book |last=Levin |first=Gail |title=Edward Hopper: An Intimate Biography |location=New York |publisher=Knopf |year=1995b}}
* {{cite book |last=Levin |first=Gail |title=The Complete Oil Paintings of Edward Hopper |location=New York |publisher=Norton |year=2001}}
* {{cite book |last1=Lyons |first1=Deborah |last2=O'Doherty |first2=Brian |title=Edward Hopper: A Journal of His Work |location=New York |publisher=Norton |year=1997}}
* {{cite book |last=Maker |first=Sherry |title=Edward Hopper |location=New York |publisher=Brompton Books |year=1990}}
* {{cite book |last=Mecklenburg |first=Virginia M. |title=Edward Hopper: The Watercolors |location=New York |publisher=Norton |year=1999}}
* {{cite journal|last1=Pabón|first1=G|last2=Gutierrez|first2=C|last3=Fernández|first3=JD|last4=Martinez-Pietro|first4=MA|title=Linked Open Data technologies for publication of census microdata|journal=Journal of the American Society for Information Science and Technology|date=2013|doi=10.1002/asi.22876|volume=64|issue=9|pages=1802–1814|hdl=10533/127539|hdl-access=free}}
* {{cite book |last=Renner |first=Rolf G. |title=Edward Hopper 1882–1967: Transformation of the Real |location=New York |publisher=Taschen |year=1999}}
* {{cite book|last=Tziomis|first=Leatha|title=Botticelli's La Primavera: Painting the cosmos of human ideals|year=2012}}
* {{cite book |editor-last=Wagstaff |editor-first=Sheena |title=Edward Hopper |location=London |publisher=Tate Publishing |year=2004}}
* {{cite book |last=Wells |first=Walter |title=Silent Theater: The Art of Edward Hopper |location=London/New York |publisher=Phaidon |year=2007}}
{{refend}}

== External links ==
{{external links|date=December 2019}}
{{sisterlinks|d=Q203401|c=Category:Edward Hopper|n=no|b=no|v=no|voy=no|m=no|mw=no|wikt=no|s=no|species=no}}
*[https://www.nga.gov/collection/artist-info.1404.html Edward Hopper at the National Gallery of Art, Washington]
*[https://web.archive.org/web/20090803021127/http://americanart.si.edu/exhibitions/online/hopper/index.html ''An Edward Hopper Scrapbook'' compiled by the staff of the Smithsonian]
*[http://www.aaa.si.edu/collections/interviews/oral-history-interview-edward-hopper-11844 Oral history interview with Edward Hopper, June 17, 1959] from the Smithsonian [[Archives of American Art]]
*[[:de:Werkverzeichnis von Edward Hopper|Exhaustive list of Hopper's works (in German)]]
*[http://www.museumsyndicate.com/artist.php?artist=54 Gallery of Edward Hopper's Paintings] {{Webarchive|url=https://web.archive.org/web/20160303192933/http://www.museumsyndicate.com/artist.php?artist=54 |date=March 3, 2016 }}
*[http://www.aaa.si.edu/collections/agnes-albert-letter-edward-hopper-5691 Smithsonian Archives of American Art: Edward Hopper letter to Agnes Albert (1955)] 
*[https://www.cryanaid.com/edward-hopper-all-around-gloucester "Edward Hopper all around Gloucester, MA"] — ''115+ paintings, drawings, and prints, with images then and now''.
**[https://www.google.com/maps/d/u/0/viewer?mid=1XnwQRaH9kLimHN7Co5YYMMkl5N0&ll=42.618533566652395%2C-70.65598355571316&z=13 explore Google Maps: Locations of "Edward Hopper all around Gloucester" sites]
*[https://web.archive.org/web/20130915080549/http://ghwalk.org/story-moments/28 Gloucester MA HarborWalk] Edward Hopper Story Moment, with additional links, one stop along free public access walkway.
*[http://biblioklept.org/2014/08/10/notes-on-painting-edward-hopper/ Biblioklept.org: Notes on Painting 1933]
*[http://www.edwardhopperhouse.org/ Edward Hopper House Art Center website] — non-profit art center for contemporary art exhibitions at birthplace/childhood home in Nyack
*[https://www.pbs.org/video/hopper-an-american-love-story-faeahk/ PBS American Masters "HOPPER: An American love story"]

{{Hopper}}
{{Authority control (arts)}}

{{DEFAULTSORT:Hopper, Edward}}
[[Category:Edward Hopper| ]]
[[Category:American realist painters]]
[[Category:American modern painters]]
[[Category:Precisionism]]
[[Category:1882 births]]
[[Category:1967 deaths]]
[[Category:Painters from New York City]]
[[Category:Parsons School of Design alumni]]
[[Category:Students of Robert Henri]]
[[Category:Artists from Manhattan]]
[[Category:People from Greenwich Village]]
[[Category:People from Nyack, New York]]
[[Category:American people of Dutch descent]]
[[Category:20th-century American printmakers]]
[[Category:20th-century American painters]]
[[Category:American male painters]]
[[Category:Nyack High School alumni]]
[[Category:Members of the American Academy of Arts and Letters]]