Hopper in Gloucester Art Tour. By 1923, Hopper's slow climb finally produced a breakthrough.
He re-encountered Josephine Nivison, an artist and former student of Robert Henri, during a summer painting trip in Gloucester, Massachusetts. They were opposites: she was short, open, gregarious, sociable, and liberal, while he was tall, secretive, shy, quiet, introspective, and conservative.
With Jo's encouragement, Hopper turned to the medium of watercolor, producing numerous scenes of Gloucester. They married a year later with artist Guy Pene du Bois as their best man.
Nivison once remarked: Sometimes talking to Eddie is just like dropping a stone in a well, except that it doesn't thump when it hits bottom. She subordinated her career to his and shared his reclusive life style.
The rest of their lives revolved around their spare walk-up apartment in the city and their summers in South Truro on Cape Cod. She managed his career and his interviews, was his primary model, and was his life companion. With Nivison's help, six of Hopper's Gloucester watercolors were admitted to an exhibit at the Brooklyn Museum in 1923. One of them, The Mansard Roof, was purchased by the museum for its permanent collection for the sum of $100. The critics generally raved about his work; one stated, What vitality, force and directness! Observe what can be done with the homeliest subject. Hopper sold all his watercolors at a one-man show
He re-encountered Josephine Nivison, an artist and former student of Robert Henri, during a summer painting trip in Gloucester, Massachusetts. They were opposites: she was short, open, gregarious, sociable, and liberal, while he was tall, secretive, shy, quiet, introspective, and conservative.
With Jo's encouragement, Hopper turned to the medium of watercolor, producing numerous scenes of Gloucester. They married a year later with artist Guy Pene du Bois as their best man.
Nivison once remarked: Sometimes talking to Eddie is just like dropping a stone in a well, except that it doesn't thump when it hits bottom. She subordinated her career to his and shared his reclusive life style.
The rest of their lives revolved around their spare walk-up apartment in the city and their summers in South Truro on Cape Cod. She managed his career and his interviews, was his primary model, and was his life companion. With Nivison's help, six of Hopper's Gloucester watercolors were admitted to an exhibit at the Brooklyn Museum in 1923. One of them, The Mansard Roof, was purchased by the museum for its permanent collection for the sum of $100. The critics generally raved about his work; one stated, What vitality, force and directness! Observe what can be done with the homeliest subject. Hopper sold all his watercolors at a one-man show
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