Edward Hopper was an American painter born in 1882, in Nyack, New York whose works are landmarks of American realism as well as voyagerism. His paintings portray a particular American 20th-century sensibility that is characterized by isolation, melancholy, and loneliness.
http://www.sai.msu.su/cjackson/hopper/hopper_bio.htm
Hopper studied illustration in New York City at a commercial art school from 1899 to 1900. Around 1901 he switched to painting and studied at the New York School of Art until 1906. He made three trips to Europe between 1906 and 1910 but remained curiously unaffected by current French and Spanish experiments in cubism.
He was influenced mainly by the great European realists—Diego Velazquez, Francisco de Goya, Honore Daumier, Edouard Manet—whose work had first been introduced to him by his New York City teachers. His early paintings, such as Le pavillon de flore (1909, Whitney Museum of American Art, New York City), were committed to realism and exhibited some of the basic characteristics that he was to retain throughout his career: compositional style based on simple, large geometric forms; flat masses of color; and the use of architectural elements in his scenes for their strong verticals, horizontals, and diagonals.
http://www.sai.msu.su/cjackson/hopper/hopper_bio.htm
Although one of Hopper's paintings was exhibited in the famous Armory Show of 1913 in New York City, his work excited little interest, and he was obliged to work principally as a commercial illustrator for the next decade. Most of Hopper paintings portray scenes in New York or New England, both country and city scenes, all with a spare, homely quality—deserted streets, half-empty theaters, gas stations, railroad tracks, rooming houses. One of his best-known works, Nighthawks (1942, Art Institute of Chicago), shows an all-night cafe and its few uncommunicative customers, illuminated in the glare of electric lights.
http://www.sai.msu.su/cjackson/hopper/hopper_bio.htm
Hopper studied illustration in New York City at a commercial art school from 1899 to 1900. Around 1901 he switched to painting and studied at the New York School of Art until 1906. He made three trips to Europe between 1906 and 1910 but remained curiously unaffected by current French and Spanish experiments in cubism.
He was influenced mainly by the great European realists—Diego Velazquez, Francisco de Goya, Honore Daumier, Edouard Manet—whose work had first been introduced to him by his New York City teachers. His early paintings, such as Le pavillon de flore (1909, Whitney Museum of American Art, New York City), were committed to realism and exhibited some of the basic characteristics that he was to retain throughout his career: compositional style based on simple, large geometric forms; flat masses of color; and the use of architectural elements in his scenes for their strong verticals, horizontals, and diagonals.
http://www.sai.msu.su/cjackson/hopper/hopper_bio.htm
Although one of Hopper's paintings was exhibited in the famous Armory Show of 1913 in New York City, his work excited little interest, and he was obliged to work principally as a commercial illustrator for the next decade. Most of Hopper paintings portray scenes in New York or New England, both country and city scenes, all with a spare, homely quality—deserted streets, half-empty theaters, gas stations, railroad tracks, rooming houses. One of his best-known works, Nighthawks (1942, Art Institute of Chicago), shows an all-night cafe and its few uncommunicative customers, illuminated in the glare of electric lights.
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