how did edward hopper die
Born in 1882 in Nyack, a small town on the Hudson River about forty miles north of New York City, Edward Hopper was the son of a local businessman. After spending a brief period at a school for illustrators, he attended the New York School of Art from 1900 to 1906. His teachers there were William Merritt Chase, Kenneth Hayes Miller, and Robert Henri. Henri, above all, became important to Hopper, not so much in artistic as in personal terms, for Henri was a man who set high standards for himself and his students. It was also he who pointed out that everyday American life contained an inexhaustible reservoir of new and untried subject matter.
The key accomplishment of the early period was an assimilation of Impressionism. Hopper’s palette grew lighter, his brushwork freer, and his observation more precise. His approach to motifs began to show a growing independence from any model or ideal, both in the American subjects and the Paris ones. Under the Impressionist spell, Hopper discovered the unique light of Paris: “The light was different from anything I had known,” he later recalled. “The shadows were luminous, more reflected light. Even under the bridges there was a certain luminosity.”
Edward Hopper, (born July 22, 1882, Nyack, N.Y., U.S.—died May 15, 1967, New York City), American painter whose realistic depictions of everyday urban scenes shock the viewer into recognition of the strangeness of familiar surroundings. He strongly influenced the Pop art and New Realist painters of the 1960s and 1970s.
Hopper was initially trained as an illustrator, but, between 1901 and 1906, he studied painting under Robert Henri, a member of a group of painters called the Ashcan School. Hopper travelled to Europe three times between 1906 and 1910, but he remained untouched by the experimental work then blossoming in France and continued throughout his career to follow his own artistic course. Although he exhibited paintings in the Armory Show of 1913, he devoted most of his time to advertising art and illustrative etchings until 1924. He then began to do such watercolours as Model Reading (1925), as well as oil paintings. Like the painters of the Ashcan School, Hopper painted the commonplaces of urban life. But, unlike their loosely organized, vivacious paintings, his House by the Railroad (1925) and Room in Brooklyn (1932) show still, anonymous figures and stern geometric forms within snapshot-like compositions that create an inescapable sense of loneliness. This isolation of his subjects was heightened by Hopper’s characteristic use of light to insulate persons and objects in space, whether in the harsh morning light ( Early Sunday Morning, 1930) or the eerie light of an all-night coffee stand ( Nighthawks, 1942).
After returning from his final trip abroad in 1910, Hopper moved permanently to New York City and, in 1913, settled at 3 Washington Square North. This would be his home and studio for the rest of his life. That same year he sold his first painting, Sailing (1911), for $250 at the Armory show in New York. Though he never stopped painting, it would be 11 years before he sold another painting. During that time he continued to earn his living illustrating and, in 1915, he took up printmaking, producing some 70 etchings and dry points over the next decade. Like the paintings for which he would later become renowned, Hopper’s etchings embody a sense alienation and melancholy. One of his better known etchings, Night Shadows (1921) features the birds’-eye viewpoint, the dramatic use of light and shadow, and the air of mystery which would serve as inspiration for many film noir movies of the 1940s. Hopper continued to receive great acclaim for his etchings over the years and considered them an essential part of his artistic development. As he wrote, “After I took up etching, my painting seemed to crystallize.”
Edward Hopper was born into a comfortable, middle-class family in Nyack, New York, in 1882. His parents introduced Edward, and his older sister Marion, to the arts early in life; they attended the theatre, concerts and other cultural events, and visited museums. His father owned a dry goods store where Hopper sometimes worked as a teen. Hopper described him as “an incipient intellectual. less at home with his books of accounts than with Montaigne’s essays.” Both his parents were supportive of his artistic inclinations.
At the age of 37, Edward Hopper received his first open invitation to do a one person exhibit, featuring some of this finest pieces of art. 16 pieces of his work were shown at the Whitney Club, and although none of the pieces were sold at this exhibit, it did point his career in a new direction, it got his art work out to the general public, and he became a more notable name in the type of work and the art forms which he most wanted to focus his career on, for the future works he would create.
Edward Hopper is widely acknoledged 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. His work demonstrates that realism is not merely a literal or photographic copying of what we see, but an interpretive rendering.
In addition to his influence (see § Influence), Hopper is frequently referenced in popular culture.
Painting will have to deal more fully and less obliquely with life and nature’s phenomena before it can again become great.