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Impressionism
A Brief History
French/European
Impressionists
Monet,
Claude
Van Gogh,Vincent
Renoir, Pierre Auguste
Degas, Edgar
Cezanne, Paul
Seurat, Georges
Manet, Eduoard
Toulouse-Lautrec, Henri
Sisley, Alfred
Pissarro, Camille Jacob
Morisot, Berthe
Boudin, Eugene
Caillebotte, Gustave
Sorolla, Joaquin
Fantin-Latour, Henri
Bonnard, Pierre
Gauguin, Paul
Vuillard, Edouard
Martin, Henri
Redon, Odilon
Other Impressionists
American
Impressionists
Thompson,
Richard Earl
Cassatt, Mary
Sargent, John Singer
Whistler, James McNeill
Hassam, Childe
Benson, Frank Weston
Prendergast, Maurice
Twachtman, John Henry
Chase, William Merritt
Tarbell, Edward
Vonnoh, Robert
Reid, Robert
Metcalf, Willard
Beaux, Cecilia
Potthast, Edward
Chadwick, William
Hale, Philip Leslie
Curran, Charles Courtney
Graves, Abbott Fueller
Frieseke, Frederick
Glackens, William
Maley, Alan
Ruby,
Claire
Terelak, John C
Wallis, Kent
Schofield, Michael
Plisson, Henri
Romanello, Diane
Singley, Greg
Title, Christian
Horning, Elizabeth
Hatfield, Don
Aspevig, Clyde
Afsary, Cyrus
Hayslette, Max
Schmid, Richard
Dunlay, Thomas
Ellis, Ray
Gertenbach, Lynn
Zhan, Charles
Duncan, Robert
Hails, Barbara
Wood, Barbara
Behrens, Howard
Other Impressionists
Popular
Favorites
Dali,
Salvador
Michelangelo
Da Vinci, Leonardo
Picasso, Pablo
Rockwell, Norman
Matisse, Henri E
Klimt, Gustav
Escher, M.C.
Mucha, Alphonse
Potter, Beatrix
Geddes, Anne
Anderson, Kim
Vettriano, Jack
O'Keeffe, Georgia
Parrish, Maxfield
Homer, Winslow
Hopper, Edward
Wyeth, Andrew
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Edward
Hopper Biography
Nighthawks
painting by Edward Hopper
Nighthawks
1942
24 in x 36 in

Edward Hopper Biography
Hopper,
Edward (1882-1967). American painter, active mainly in New York. He
trained under Robert Henri, 1900-06, and between 1906 and 1910 made
three trips to Europe, though these had little influence on his style.
Hopper exhibited at the Armoury Show in 1913, but from then until
1923 he abandoned painting, earning his living by commercial illustration.
Thereafter, however, he gained widespread recognition as a central
exponent of American Scene painting, expressing the loneliness, vacuity,
and stagnation of town life. Yet Hopper remained always an individualist:
`I don't think I ever tried to paint the American scene; I'm trying
to paint myself. Paintings such as Nighthawks (Art Institute of Chicago,
1942) convey a mood of loneliness and desolation by their emptiness
or by the presence of anonymous, non-communicating figures. But of
this picture Hopper said: `I didn't see it as particularly lonely...
Unconsciously, probably, I was painting the loneliness of a large
city.' Deliberately so or not, in his still, reserved, and blandly
handled paintings Hopper often exerts a powerful psychological impact
-- distantly akin to that made by the Metaphysical painter de Chirico;
but while de Chirico's effect was obtained by making the unreal seem
real, Hopper's was rooted in the presentation of the familiar and
concrete. Edward Hopper painted American landscapes and cityscapes
with a disturbing truth, expressing the world around him as a chilling,
alienating, and often vacuous place. Everybody in a Hopper picture
appears terribly alone. Hopper soon gained a widespread reputation
as the artist who gave visual form to the loneliness and boredom of
life in the big city. This was something new in art, perhaps an expression
of the sense of human hopelessness that characterized the Great Depression
of the 1930s. Edward Hopper has something of the lonely gravity peculiar
to Thomas Eakins, a courageous fidelity to life as he feels it to
be. He also shares Winslow Homer's power to recall the feel of things.
For Hopper, this feel is insistently low-key and ruminative. He shows
the modern world unflinchingly; even its gaieties are gently mournful,
echoing the disillusionment that swept across the country after the
start of the Great Depression in 1929.
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