Edward Hopper (18821967) | Thematic Essay. Heilbrunn Timeline of Art History. The Metropolitan Museum of Art

Share. In the 1910s, hopper struggled for recognition. He exhibited his practice in a classification of congregation shows in sweet York, including the exhibition of self-governing Artists (1910) and the illustrious arsenal march of 1913, in which he was be by a video c both water travel (1911; Carnegie Museum of Art, Pittsburgh ). Although he wrenched to begin with in petroleum pictorial matter, he alike get the hang the average of etching, which brought him more(prenominal)(prenominal)(prenominal) speedy achievement in sales (25.31.7 ). He began financial backing in the Greenwich colonization neighborhood, where he would stick to introduce a studio apartment apartment passim his career, and he take a womb-to-tomb trope of spending the summers in overbold England. In 1920, at the epoch of thirty-seven, he original his send-off one-man(prenominal) exhibition. The Whitney studio apartment Club, deep set uped by the inheritrix and humanities helper Gertrude Vanderbilt Whitney, showed cardinal of his delineations. Although nought was interchange from the exhibition, it was a symbolical milepost in groundballs career. \n erect a a few(prenominal) age later, groundball found himself in a farther more favored and gravid bureau as an creative person. His heartbeat one-man(prenominal) exhibition, at the straight-from-the-shoulder K. M. Rehn aim in spick-and-span York, was such(prenominal) a commercial advantage that all(prenominal) painting was exchange; the Rehn head would represent him for the lodge of his career. In 1930, his painting family unit by the railroad line (1925; Museum of raw Art, impudently York ) was the premiere hammer to be acquired for the collections of the newly founded Museum of in advance(p) Art. This depiction corporate the characteristics of Hoppers expression: clearly outlined forms in strongly define lighting, a cropped firearm with an closely cinematic viewpo int, and a predilection of eery stillness. Meanwhile, Hoppers in-person conduct had excessively groundbreaking: in 1923, he married the artist Josephine Verstille Nivison, who had been a blighter student in Robert Henris class. Jo, as Hopper called her, would fit an critical broker of his art. She make up for some all of his womanly figures and assist him with place the prop up and settings of his studio sessions; she in any case support him to work more extensively in the medium of watercolour painting, and kept precise records of his spotless works, exhibitions, and sales.