Edward HopperUSA, 1882–1967Interior
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Edward and Jo Hopper, who married in 1924, spent part of the following year in Santa Fe, New Mexico. Without a car, and confined mostly to town, Edward found his subject matter where he could. Conveniently, their spare, impersonal hotel room provided him with the detached atmosphere he sought in all his work. In this painting, Edward invisibly observed Jo pinched between chair and dresser, a book propped on her folded knees, absorbed in the text. Her reflection reveals nothing but a mass of black hair. She’s bookish but unreadable. The view places us on the intimate perch of the room’s bed, giving the work a voyeuristic feeling. The slashing, tilted diagonal of the footboard in the foreground walls Jo off, distancing her from both her husband and us. She’s trapped but occupied, a world unto herself, passing the time as best she can.
Art Institute of ChicagoCC BY 4.0
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- Inventarienummer
- 1933.487
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- Art Institute of Chicago
- Bild: Art Institute of Chicago — © the artist or rights holder
I Edward Hoppers liv
Hela livet1915–1923
Turning to etching
At an impasse over his oil paintings, in 1915 Hopper turns to etching; by 1923 he has produced most of his approximately 70 etchings, many of them urban scenes of Paris and New York, as well as some posters for the war effort.
early 1920s
His etchings gain recognition
During the early 1920s Hopper's etchings begin to receive public recognition; they express some of his later themes: a couple in silence (“Night on the El Train”), a solitary female (“Evening Wind”) and a simple nautical scene (“The Catboat”).
summer 1923
Gloucester: meeting Josephine again, and the watercolours
In the summer of 1923, on a painting trip to Gloucester, Hopper re-encounters the artist Josephine Nivison; with her encouragement he turns to watercolour, producing numerous scenes of Gloucester. They marry a year later, with the artist Guy Pène du Bois as best man.
1923
The Brooklyn Museum buys “The Mansard Roof”
With Josephine's help six of Hopper's Gloucester watercolours are admitted to an exhibit at the Brooklyn Museum, and one of them, “The Mansard Roof”, is bought by the museum for its permanent collection for $100; the critics generally rave about his work.
1924
Every watercolour sold: farewell to illustration
At a one-man show with his dealer Frank Rehn in 1924 Hopper sells all his watercolours and finally decides to put illustration behind him; his financial stability will let him live a simple, stable life and keep creating art in his personal style for four more decades.
9 juli 1924
Married: Josephine Hopper
