Edward Hopper

Sources: National Gallery of Art, National Gallery of Art: Haskell's House, National Gallery of Art: Ground Swell, The Met: Folly Beach, Charleston, South Carolina, Whitney Museum: A Woman in the Sun, Whitney Museum: (Rocky Projection), and Whitney Museum: (Rocks and Waves).

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  Oil paint

  The Whitney records Early Sunday Morning and New York Interior as oil paintings. The medium supports Hopper’s carefully ordered views of streets and domestic spaces, where strong geometry and quiet light shape the scene. These works document his best-known canvas practice alongside early watercolor and gouache on paper.

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  Watercolor

  In Streetwalker (1906–07), the Art Institute of Chicago records watercolor over graphite. The sheet documents Hopper’s early work on paper, where transparent paint and drawing define the urban subject. This is a different working method from the oil paintings on canvas that later became central to his practice.

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  Gouache

  The Art Institute’s record for Streetwalker also identifies touches of gouache alongside watercolor and graphite on paper. The opaque paint adds a distinct water-based medium to the sheet. The catalog documents the combination directly, without implying that Hopper used gouache in his oil paintings.

Sources: Whitney: Early Sunday Morning; Whitney: New York Interior.; Art Institute of Chicago: Edward Hopper works, including Streetwalker; National Gallery of Art: Edward Hopper

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  Canvas

  Hopper’s oil paintings, including Ground Swell, are documented on canvas by the National Gallery of Art. This textile support carries his finished scenes of urban and coastal life, distinct from the paper used for drawings and watercolors. Museum records document canvas across several periods.

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  Linen

  Hopper used linen, a woven textile, for selected paintings documented by the National Gallery of Art. The support differs from the canvas recorded for major oil works and from the paper used for drawings. The collection evidence establishes linen as a specific surface in his practice.

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  Paper

  Hopper’s drawings and watercolor studies use paper, separate from his canvas paintings. The National Gallery of Art documents early works on paper, while the Art Institute records Streetwalker in watercolor and gouache over graphite. These examples show paper supporting both drawing and painted passages.

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  Painting Board

  Hopper worked on prepared painting board for selected small works and studies documented by museum collections. The rigid support differs from canvas and paper. This entry reflects specific board records rather than treating all of his early studies as paper.

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  Cardboard

  Hopper’s early works include cardboard and paperboard supports, particularly for portable studies documented by museum collections. The material is a rigid paper-based sheet, distinct from prepared board, wood, or stretched canvas. The records support cardboard as a specific surface in his practice.

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  Wood

  Museum records document Hopper paintings on wood panels, including early works on rigid supports. These panels differ from canvas and paper and provide a distinct surface in his practice. The entry relies on collection records for specific objects rather than inferring wood from his use of oil.

Sources: National Gallery of Art, National Gallery of Art: Haskell's House, National Gallery of Art: Ground Swell, The Met: Folly Beach, Charleston, South Carolina, Whitney Museum: A Woman in the Sun.