Edward Hopper

Edward Hopper
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Introduction
In authentic learning, one may come across a figure about whom they would want to know more. In my learning, I have wanted to know much about Edward Hopper. The curiosity has propelled me to search in different areas so as to gather much information about the artist and his work. There has been an exploration of peer-reviewed articles as well as internet sites to amass the right knowledge. The site that proved most useful was the Ebsco online library. This site provided various books covering the works of Edward Hopper. The resultant work is what is in this paper. There has been the discovery of some of his fascinating paintings and paint works which happen to be very much impressive.
Biography
Edward Hopper was born in America in the year 1882. His parents were Elizabeth and Smith and were of Dutch origin. He was born in a family of two, in an economically stable family. I found this realization intriguing because; most of the people who made history happen to have come from humble backgrounds which translate to poor socioeconomic status. He grew up to be a prominent painter and a realist paint maker. What propelled him most to the limelight were his three categories of paintings which included oil paintings, water coloring as well as color making in etching, (French, 2016). However, among the three types, the oil paintings were the most fascinating. Edward Hopper did not restrict his work of art in one place He operated from both the rural and urban setting providing works reflecting the two settings.

However, there is the realization that; there was a glaring vision in his work. The outcome of the paintings reflected the personal view of Edward Hopper touching on the modern American life.
The career
There is the realization that much of the success of Edward Hopper is much in association with his education background. First, Edward went to correspondence school in 1899. Afterward, Hopper joined the New York School to study Art and design, (Moynihan, 2016). While there, Hopper studied oil painting for six years, a stance which saw him articulate his skills in oil painting. While there, he found it difficult to deal with illustrations but his wits on matters of the oil painting propelled him far. In 1905, Hopper landed a part-time job in an advertising agency whereby he engaged in creating cover designs for trade magazines. The work entailed much of illustrations which Hopper found unappealing. He only engaged in it as a way of meeting the economic needs and not from passion like the rest of his works. He found himself taking breaks from the detestation by going to Europe While in Europe; he would study the emerging art scenes which happened to be much beneficial to him.
I got fascination from the discovery of how Hopper would transfer the ideas he liked in his work of paintings. For instance, from his admirations of the Parisian architecture, Hopper was able to move the concept to America. The ability, coupled with the earlier mentioned lack of restriction in the operations of Hopper, was able to lead him to paint the Parisian architecture to have a reflection in both the urban and the rural areas. Hopper would assert that he got fascination from the way the Parisian houses would cast beautiful shadows out of their mansard roofs, (Smart, 2006). Hopper, therefore, delighted in making paintings of the sunlight beside the shadow as cast by the houses.
In the process of researching about Edward Hopper, I came upon intriguing realizations such as that; her work got inspirations from the daily engagement of the American people. For example, there is a distinct characterization of his work in a sense that it involved two main categories. These included the typical features of America such as gas stations and street scenes as well as restaurants. Another category is that of the seascapes and the rural landscapes.
Hopper did not delight in restricting his work into a particular setting, (Jackson, 2004). Even in the future, when there came to be many schools of orientation for the painting artists, Hopper remained unmoved and stuck to the unrestricted perspective. Hopper did not have much interest in rain or snow scenes. For the seascapes, Hopper’s paintings would fall under three categories. There were the pictures of rocks, beach grass, and sea. Another category was that touching on houses which included the lighthouses and the palm houses. There were also paintings on sailboards. In most of the paintings, there was the capture of fair weather and intense light.
The long leg
In my efforts of quenching the thirst of knowledge concerning the works of Edward Hopper, I came across Hopper’s long leg painting. This artwork is one of the fascinating articles that Hopper produced. There has been much hailing of the painting following the simplicity of the presentation, yet capturing the breath of the observer by the way the artwork appears real. The sailing picture is mainly in blue which creates a cooling effect and presents a perfect artwork to behold even when one is overwhelmed by the difficulties of life, (Smart, 2006)

The aspect that I found most fascinating is the background of the paintwork. There appears to be a long spread sea rock behind the yacht. Off the rock, are several houses which seem so highly articulated in the picture such that there cannot be adequate words to describe the bewilderment. The artist Hopper seems to have been so accurate in the painting such that there is a clear view of the chimneys in the houses in a much more clear way that it would even be in a real life observation. Besides the houses, there is another large rock which appears to go round the houses and way far after the houses. The articulation of the sky in the picture is very much fascinating.
There was the right utilization of the color such that there is the creation of waves which are just so much visible in the picture it appears like a real situation. An observation of the long leg work of Hopper leaves one with no option but to conclude that; such must have been work of a highly talented artist, who also happened to get the right training in the career. There is no doubt concerning the ability of Hopper in the art of mixing or utilizing the colors in his paintings, (Cleary, 2016). Every color seems to have gone in the right place and with the right intensity. The selection of the colors is also so perfect that there is the creation of the perfect impression which captures the eye leaving no room for correction. His, are works that could fit the description, perfect.
The girl at a sewing machine

Edward Hopper did the artwork depicting a girl at a sewing machine around the year 1922, (Cleary, 2016). This picture is a fascinating artwork portraying a girl at a sewing machine inside a house. The work has the right hue from the mixture of cool colors which create the right ambiance for the observer. The girl is in a long white dress and has long hair, falling to the back. Every aspect in the picture got the correct kind of painting such that there is a realistic appearance. The sewing machine appears so real one feels like they can touch it or lift it out from the picture. The window comes out so clear in the picture; one can out rightly tell that there is a cool breeze entering through it just by the observation. There is the view of a clear sky that is appearing through the window. Behind the girl, there is a table with a bottle on top, which one assumes contains the sewing machine grease or something of that sort. There is also a perfect presentation of the heap of the cloth on which the girl is working on the sewing machine.
Conclusion
Edward Hopper remains one of the most interesting artists in the history of America and the world as a whole. I have had pleasure researching on his works, and I have been intrigued by many of the discoveries concerning his work. Hopper’s paintworks came out so clearly that one would experience a realistic feeling by observing them. His most lauded works include the long leg.
References
Cleary, S. (2016). Edward Hopper’s Paint Box. Sewanee Review, 124(2), 270.
French, L. (2016). In Sunlight and in Shadow: Stories Inspired by the Paintings of Edward Hopper. Library Journal, 141(12), 82.
Jackson, W. (2004). “To Look”: The Scene of the Seen in Edward Hopper. South Atlantic Quarterly, 103(1), 133-148.
Moynihan, K. (2016). Bringing Edward Hopper’s Paintings into the English Language Arts Classroom. English Journal, 105(5), 68-74.
Smart, M. (2006). The Hopper collection. Theatreforum, (29), 62-87.