By the turn of the last century, American urban painters were beginning to free themselves from the tyranny of the academic tradition. Inspired by Robert Henri and his fellow Ashcan School painters, these realists chose their subject matter from life around them, rejecting idealized or prettified subjects. New York City was a source of endless inspiration, with artists capturing its gritty streets, alleys, and back rooms, as well as well as genre scenes in parks, theaters, nightclubs, hotels, and restaurants.
Edward Hopper is widely regarded as one of the great American realists of modern art. Trained by Henri, he is considered an heir of the Ashcan School. His work captures a quintessential view of New York City during a specific moment that became part of our cultural fabric. Many of the noir films of the 1940s and 1950s reflect Hopper’s personal vision of city life as depicted in his paintings: austere, silent, moody, and lonely. Hopper’s oeuvre also includes landscapes painted on vacations and road trips.
Art historian Bonita Billman explores the highlights of Hopper’s career and examines the sociopolitical and cultural contexts in which he lived and worked. Drawing on images of such paintings as Automat, Chop Suey, New York Movie, and Nighthawks, she discusses Hopper’s influences and his enduring relevance.
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