In 1906 he traveled to Europe for the first time, visiting Paris, where he experimented with a formal language close to that of the Impressionists. In 1907 he visited London, Berlin and Brussels.

In 1908 he moved to New York.

In 1909 he returned to Paris where his personal and unmistakable style was formed.

He returns to the United States and gives up the European nostalgias that had influenced him until then and begins to elaborate themes in relation to American daily life, modeling and adapting his style to that theme. In 1910 he made a new trip to Paris and Spain. In 1918 he became one of the first members of the Whitney Studio Club, the most dynamic center for independent artists of the time.

In 1924 he married painter Josephine Verstille.

1967: Dies in New York. A year later, his wife dies, who bequeathed the whole of his husband's work to the Whitney Museum of Art in New York.

He produced some of the most popular works of American art. Throughout his career he created fascinating images of places and people of daily life, managing to impregnate these dramatic scenes by expressing in them the feeling of isolation, anonymity and the bittersweet comfort of solitude. His images of New York, of cinematographic cut, reflect the urban life in America in the inter-war period.

"Cape Cod Afternoon", 1936

Away from fashions and artistic trends, his style receives multiple influences, but is often framed in the so-called "American realism." His paintings are laconic, and silence. The scenes he creates are invaded by a slight action, such as the soft breeze of a curtain.

His evocative artistic vocation evolves towards a strong realism, which turns out to be the synthesis of figurative vision coupled with the poetic feeling that Hopper perceives in his objects. Poetry that John Updike dedicates to the American painter Edward Hopper, where he praises the virtues of one of his works: "Hotel room" (Museo Thyssen-Bornemisza, Madrid), comparing it with one of the brilliant painter of Delft , Vermeer.

"Room in Brooklin", 1932

Urban or rural images, immersed in silence, in a real and metaphysical space at the same time, that communicates to the viewer a feeling of estrangement from

Hopper achieves these effects by means of a careful geometric composition of the canvas, by a sophisticated set of lights, cold, sharp and intentionally "artificial", and by an extraordinary synthesis of details.

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Hopper frequently uses a straight line. Horizontal, usually a road or a railroad. To build the space within the image and highlight the division between the pictorial space and the world of the viewer. The description of the interiors, which he learns with Degas, is characteristic.

The scene appears almost always deserted; in his paintings we almost never find more than one human figure, and when there is more than one what stands out is the alienation of the issues and the impossibility of resulting communication, which exacerbates loneliness.


Hopper often describes fast-moving glimpses from elevated trains that allow glimpses of windows in neighboring buildings, where human beings manifest with their private concerns, inadvertently or uncaring that they are being watched HOPPER AND THE CINEMA

Hopper's pictorial world of time-frozen images in which his characters are ambiguous the environment, of images full of mystery, giving free rein to the imagination of the viewer, has such a drama that one understands why some film directors were attracted to him. Alfred Hitchcock was inspired by the oil "House next to the railroad" for the tenebroous house of "Psycho".

Hopper had performed a series of watercolors of houses during his summers in New England. Houses wrapped in solitude, silent, in empty landscapes. Solitary streets reminiscent of some of Magritte or De Chirico.

The play "Night Birds" was reproduced exactly in Herbert Ross's film, "Money Fallen from the Sky."

Even some novels of the time reproduce the atmosphere represented by Hopper.

Sources: Rolf G. Renner: "Hopper". Taschen