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Edward Hopper (1882–1967), Study for Nighthawks, 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 × 15 in. (28.3 × 38.1 cm). Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange 2011.65
Hopper Drawing is the first major museum exhibition to focus on the drawings and creative process of Edward Hopper (1882–1967). More than anything else, Hopper’s drawings reveal the continually evolving relationship between observation and invention in the artist’s work, and his abiding interest in the spaces and motifs—the street, the movie theatre, the office, the bedroom, the road—that he would return to throughout his career as an artist. This exhibition showcases the Whitney’s unparalleled collection of Hopper’s work, which includes over 2,500 drawings bequeathed to the museum by his widow Josephine Hopper, many of which have never before been exhibited or researched. The exhibition will survey Hopper’s significant and underappreciated achievements as a draftsman, and will pair many of his greatest oil paintings, including Early Sunday Morning (1930), New York Movie (1939), Office at Night (1940) and Nighthawks (1942), with their preparatory drawings and related works. This exhibition also features groundbreaking archival research into the buildings, spaces and urban environments that inspired his work.
Hopper Drawing is organized by Carter E. Foster, Steven and Ann Ames Curator of Drawing.
Works from the Exhibition
Hopper Drawing
by Carter E. Foster
Edward Hopper (1882–1967) is recognized as one of the greatest American artists of the twentieth century. The influence of his distinctive style extends beyond painting into popular culture, photography, and film. This important publication is the first comprehensive exploration of Hopper’s drawings and working methods, which are the foundation of the artist’s iconic works such as Early Sunday Morning (1930) and Nighthawks (1942).
Contributors:
Daniel S. Palmer
Nicholas Robbins
Kimia Shahi
Mark W. Turner
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Significant support for this exhibition is provided by The Horace W. Goldsmith Foundation, the National Endowment for the Arts, The Dietrich Foundation, The Selz Foundation, Barney A. Ebsworth, Steve Martin and Anne Stringfield, The Robert Lehman Foundation, Jane Carroll, Aaron I. Fleischman and Lin Lougheed, Arlene and Robert Kogod, and an anonymous donor.
This exhibition is supported by an indemnity from the Federal Council on the Arts and Humanities.
