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Print on canvas
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Giclée Art print
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Framed artwork 29.7 x 25.9 cm
In a New York interior, a woman looks up from her sewing machine to peer through an open window, the warmth suggested by the neckline of her dress. Edward Hopper had returned to New York from Paris in 1910 and took up printmaking when his paintings failed to find buyers, producing around 70 prints between 1915 and 1923.
In addition to men and women experiencing the distinct fabric of his new hometown, the artist evokes memories of France and explores the rural and coastal landscapes of Maine and Massachusetts. See more
After receiving two awards for his prints in 1923 - the Logan Prize of the Chicago Society of Etchers and the W. A. Bryan Award - Hopper concentrated again on painting, but often returned to the subjects he had fashioned with the aid of printmaking.
Edward Hopper is one of the major figures of the American realist movement, with paintings such as House by the Railroad (1925) and Nighthawks (1942).
Born in 1882 in New York State, Edward Hopper entered the prestigious New York School of Art after his secondary education. He moved to New York in 1908 where he was hired as an illustrator for advertising campaigns. He soon tired of the job and exhibited paintings in his spare time. See more
Around 1915, he painted scenes of American life and in 1920, he presented his first exhibition at the Whitney Studio Club, which was a great success. In 1924 he married Josephine Verstille Nivison.
His particular style, made of simple forms and rather dark colours, plays on the contrasts between light and shadow. Hopper managed to diversify his realistic approach, with staged landscapes, sometimes urban and sometimes rural. The characters he paints often inspire an impression of solitude and exclusion. Most of his oil paintings reflect a country in the throes of economic and social change. In 1945, Edward Hopper was admitted to the American Academy of Arts and Letters. He received numerous awards and honours, including the title of Doctor of Fine Arts from the Art Institute of Chicago in 1955.