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Student Artwork Guide

House with big pine

Name Class Date

Edward Hopper, House with big pine. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Edward Hopper originaluniqueart.com/en/artists/edward-hopper/
Artist’s dates
1931 – 1967
Medium
Oil
Period
Modern

In context

House with big pine — Edward Hopper

When might this have been painted?

  1. 1930
  2. 1940
  3. 1950
  4. 1960

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 36 at death.

Shaded: the lifetime of Edward Hopper (1931–1967) every dated painting, decade by decade

First works: up to 1947 Main working years: 1947–1960 Late works: from 1960

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/edward-hopper-house-with-big-pine-9H6A4M-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #29242a

    Catalogued palette

    • #29242A
    • #D3AC72
    • #887055
    • #E8E5E8

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Phthalo Green
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Softly Mixed Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Edward Hopper over the last twelve months — 57 countries in all. Where these figures come from

    The ten leading countries

    1. 1 Italy 20.9%18,800 visits
    2. 2 China 20.0%18,000 visits
    3. 3 Germany 6.6%5,900 visits
    4. 4 France 6.6%5,900 visits
    5. 5 United States of America 6.5%5,800 visits
    6. 6 Czechia 4.3%3,900 visits
    7. 7 Spain 3.5%3,100 visits
    8. 8 Netherlands 3.0%2,700 visits
    9. 9 Romania 3.0%2,700 visits
    10. 10 United Kingdom 2.0%1,800 visits
    11. · 47 other countries 23.6%21,200 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Edward Hopper

    1. 1 Nighthawks, The Art Institute of Chicago, Chica, 1942 14.2%27,400 visits
    2. 2 Automat, 1927 7.6%14,600 visits
    3. 3 Gas, 1940 6.2%11,900 visits
    4. 4 Sunday, 1926 5.4%10,500 visits
    5. 5 People in the Sun, 1960 4.7%9,000 visits
    6. 6 Chop Suey, 1929 4.4%8,400 visits
    7. 7 Sunlight in a Cafeteria, 1958 3.5%6,700 visits
    8. 8 Office at Night, 1940 3.2%6,200 visits
    9. 9 Summertime, 1943 3.0%5,700 visits
    10. 10 Rooms by the Sea, 1951 2.2%4,300 visits
    11. 11 Eleven AM 2.0%3,900 visits
    12. 12 Rooms By The Sea, 1951 2.0%3,800 visits
    13. 13 Morning Sun, 1952 1.8%3,500 visits
    14. 14 Rooms for Tourists, 1945 1.6%3,000 visits
    15. 15 Room in Brooklyn, 1932 1.5%2,800 visits
    16. 16 Cape Cod Morning, 1950 1.3%2,600 visits
    17. 17 Lighthouse HIll, 1927 1.0%2,000 visits
    18. 18 Circle Theatre 0.9%1,700 visits
    19. 19 Hotel Lobby, 1943 0.8%1,600 visits
    20. — House with big pine this painting 0.0%0 visits

    Together these works take 67.3% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 366 works by this artist, of which 229 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    House with big pine — Edward Hopper

    Artwork Overview

    The painting depicts a white house featuring a black roof and a large chimney positioned on its side. Two windows are visible within the structure. The setting includes a fence located in front of the house, contributing to the charm of the scene.

    Surrounding the main residence are various trees, including a prominent pine. Additionally, another smaller building is situated towards the left side of the composition. The scene captures a serene atmosphere through the presence of these elements.

    Artist and museum

    Artist

    Edward Hopper

    Born in Upper Nyack, United States of America

    A Solitude Observed: The Life and Art of Edward Hopper

    Edward Hopper, a name inextricably linked to the quietude and subtle melancholy that permeated 20th-century American life, wasn’t simply a painter of scenes; he was a poet of light and shadow, a chronicler of modern isolation. Born in Nyack, New York, in 1882, to middle-class parents of Dutch ancestry, Hopper's early years provided a stable upbringing that nurtured his artistic inclinations. From childhood sketches meticulously dated and signed, it became evident that keen observation and an innate talent for drawing were central to his being. Though initially encouraged towards commercial illustration – a pragmatic suggestion from his parents – Hopper’s ambitions leaned toward fine art, leading him to the New York School of Art where he studied under William Merritt Chase and Robert Henri. These formative years instilled not only technical skill but also an appreciation for realism and a commitment to depicting the world as he saw it—unvarnished and honest. The writings of Ralph Waldo Emerson resonated deeply with Hopper, reinforcing his sense of individualism and acute observation – qualities that would become hallmarks of his artistic vision. Early travels to Paris exposed him to Impressionism, yet Hopper quickly diverged from its fleeting brushstrokes, forging a path uniquely his own.

    Finding His Voice: Realism and the American Scene

    Hopper’s artistic journey wasn't immediate or effortless. He grappled with discovering his distinctive voice, experimenting with various styles before settling into the realism that would define his career. This wasn’t mere replication of reality; it was a distillation of its essence, stripping away extraneous detail to reveal underlying emotional truths. His paintings began to focus on everyday scenes – houses, diners, offices, hotel rooms – imbued with a sense of stillness and often, loneliness. He possessed an extraordinary ability to capture the psychological states of his subjects, hinting at narratives without explicitly stating them. The precise rendering of light and shadow became crucial, not merely as descriptive elements but as emotional cues, creating atmospheres that were both captivating and unsettling. House by the Railroad (1925), an early masterpiece, exemplifies this approach—a seemingly simple composition radiating a profound sense of isolation and mystery. Hopper’s printmaking, often overlooked, ran parallel to his painting, sharing similar themes and stylistic qualities, demonstrating his mastery across mediums. He wasn't interested in grand historical narratives or allegorical symbolism; he focused on the mundane, elevating it through careful observation and emotional resonance.

    Iconic Visions: Nighthawks and Beyond

    While Hopper’s career unfolded gradually, certain works catapulted him to widespread recognition. Nighthawks (1942), arguably his most famous painting, became an instant icon of American culture. The late-night diner scene, bathed in stark fluorescent light, perfectly encapsulates the alienation and anonymity of modern urban life. The figures within are lost in their own thoughts, disconnected from one another despite their proximity—a poignant commentary on the human condition. Gas (1940), with its striking portrayal of a roadside gas station, showcases Hopper’s fascination with American landscapes and the burgeoning automobile culture. Other notable works like *Automat, Office in a Small City, and Summertime* each offer unique insights into the complexities of 20th-century American society. These paintings weren't merely depictions of places; they were explorations of mood, psychology, and the subtle dramas unfolding within ordinary settings. His wife, Josephine Nivison Hopper, played a vital role not only as his lifelong companion but also as a frequent model, contributing significantly to the characterization of his female figures.

    Themes and Legacy: A Lasting Influence

    Several recurring themes permeate Hopper’s oeuvre. Urban isolation is perhaps the most prominent—the sense of loneliness experienced by individuals even amidst crowds. He explored the American landscape, both rural and urban, often emphasizing its starkness and emptiness. His work delves into psychological realism, probing the inner lives of his subjects with a sensitivity that transcends mere representation. There’s also an undercurrent of nostalgia for a simpler past, juxtaposed with an acknowledgement of the complexities and anxieties of modern life. Hopper's influence on subsequent artists is undeniable. His unique style has inspired countless painters, including Pierre Sanford Ross, and continues to resonate with contemporary artists seeking to capture the essence of human experience. His paintings remain highly sought after by collectors and are exhibited in major museums worldwide, solidifying his place as a pivotal figure in American art history. More than just an artist, Edward Hopper was a visual philosopher, offering profound insights into the human condition through his masterful use of light, shadow, and composition.

    His legacy lies not only in the beauty of his paintings but also in their enduring ability to provoke thought, evoke emotion, and remind us of the quiet solitude that often defines our lives.

    Hopper’s work continues to captivate audiences because it speaks to universal themes of loneliness, isolation, and the search for meaning in a rapidly changing world.

    His paintings have become iconic representations of American culture, often used to symbolize the anxieties and aspirations of the 20th century—and beyond.

    Hopper’s aesthetic has profoundly influenced filmmakers (like Alfred Hitchcock) and writers, inspiring countless works that explore similar themes of alienation and psychological tension.

    Edward Hopper's ability to capture the essence of modern American life with honesty, sensitivity, and a distinctive artistic vision ensures his place as one of the most important artists of the 20th century.

    Where to read more

    Find this online

    QR code linking to the download page for House with big pine

    originaluniqueart.com/en/art/download/edward-hopper-house-with-big-pine-9H6A4M-en/

    Cite this artwork

    MLA
    Hopper, Edward. House with big pine. n.d., https://originaluniqueart.com/en/art/edward-hopper-house-with-big-pine-9H6A4M-en/
    APA
    Hopper, Edward (n.d.). House with big pine [Painting]. https://originaluniqueart.com/en/art/edward-hopper-house-with-big-pine-9H6A4M-en/
    Chicago
    Edward Hopper. House with big pine. n.d. https://originaluniqueart.com/en/art/edward-hopper-house-with-big-pine-9H6A4M-en/
    Harvard
    Hopper, Edward (n.d.) House with big pine. Available at: https://originaluniqueart.com/en/art/edward-hopper-house-with-big-pine-9H6A4M-en/

    Look closely

    House with big pine — Edward Hopper

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: white house, pine trees, american scene. Do you agree? What would you add, or take away?
    4. Look back at Nighthawks, The Art Institute of Chicago, Chica (1942), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Themes that come back through the work of Edward Hopper: american realism, hopper’s style, urban isolation. Which of them do you see here?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    House with big pine — Edward Hopper

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What color is the house depicted in the painting?

      • A Black
      • B White
      • C Grey
    2. 2. What type of roof does the house have?

      • A Red roof
      • B Black roof
      • C Green roof
    3. 3. What feature is visible on the side of the house?

      • A A large chimney
      • B A balcony
      • C A porch
    4. 4. Besides the main house, what else is located towards the left side of the image?

      • A A large river
      • B Another smaller building
      • C A garden
    5. 5. What can be seen in front of the house?

      • A A stone wall
      • B A fence
      • C A paved road

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3A · 4B · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    What is "House with big pine" about?

    The themes present in "House with big pine" by Edward Hopper include white house, pine trees, american scene, edward hopper, rural landscape, isolation, domesticity. Together they summarize the artwork's subject matter.

    How do movement and era meet in "House with big pine" by Edward Hopper?

    "House with big pine" by Edward Hopper is placed in the Realist Modernism movement, within the Modern era of its creator.

    Is there a slideshow for "House with big pine" by Edward Hopper?

    The diaporama of "House with big pine" can be watched on the artwork's Diaporama page.