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.
Street
Scenes
Sunday, 1926, The Phillips Collection,
Washington, D.C.
Drug Store, 1927, The Museum of Fine Arts,
Boston
Gas, 1940, The Museum of Modern Art, New
York
Rooms for Tourists, 1945, Yale University
Art Gallery, New Haven, Connecticut
Pennsylvania Coal Town, 1947, Butler
Institute of American Art, Youngstown, Ohio
Scenery
Road in Maine, 1914, Whitney Museum of
American Art, New York
Blackhead Mohegan, 1916-1919, Whitney Museum
of American Art, New York
The Mansard Roof (water color), 1923, The
Brooklyn Museum, New York
The Lighthouse at Two Lights, 1929, The
Metropolitan Museum of Art, New York
Corn Hill, 1930, McNay Art Institute, San
Antonio, TX
Cape Cod Afternoon, 1936, Museum of Art,
Carnegie Institute, Pittsburgh, Pennsylvania