by Tom Gurney
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
Email: tomgurney1@gmail.com / Phone: +44 7429 011000
Tramp Steamer: Introduction
A black-hulled ship moves through dark blue water, its yellow funnel releasing a brown trail across the pale sky. Two slender masts rise above the low body, while white foam breaks against the bow at the right. Edward Hopper's Tramp Steamer gives the surrounding sea as much force as the vessel crossing it. The ship is clearly defined, but the water continually rises, falls and interrupts its lower edge.
The Hirshhorn Museum and Sculpture Garden dates the painting to 1908 and records oil on canvas, approximately 51.1 × 74.1 cm. It belongs to the Smithsonian Institution through the gift of Joseph H. Hirshhorn in 1966, accession 66.2508. [1]
At a Glance
- ArtistEdward Hopper [1]
- Date1908 [1]
- Mediumoil on canvas [1]
- Collection / recordHirshhorn Museum and Sculpture Garden [1]
- Accession66.2508 [1]
This work across Edward Hopper’s career
American Village
1912Soir Bleu
1914Automat
1927New York Movie
1939Nighthawks
1942Morning Sun
1952Two Comedians
1966Contents
- What the title names
- The hull across the water
- Funnel, masts and smoke
- A sea made of successive waves
- Solid hull and moving sea
- An early subject with a long afterlife
- Ships, trains and changing viewpoints
What the title names
A tramp steamer belongs to the world of working cargo ships. Tramp shipping operated without a fixed advertised timetable, seeking cargoes where they were available, rather than following the regular schedule of a liner service. Maritime historians Roy Fenton and Hugh Murphy distinguish these forms of trade in their study of the Bank Line. [2]
The term supplies a useful context for Hopper's subject. This is a practical vessel, with a long hull, masts, rigging and a funnel, rather than a pleasure yacht arranged beneath full sail. Its individual name and the purpose of this particular voyage are not provided by the painting's title.
The distinction also helps direct attention to the ship's structure. Hopper has chosen a low, dark body with a few prominent uprights. The equipment above the deck breaks the silhouette without overwhelming it. A working vessel becomes a concentrated arrangement of shape, colour and movement.
The hull across the water
The hull stretches through the middle of the canvas. Its dark colour gives it considerable visual weight, particularly against the pale sky behind. The bow rises at the right, with a warmer reddish area close to the waterline.
The ship is seen from an oblique position. We can follow its length, but we do not look down far enough to inspect the deck as a complete plan. The low viewpoint keeps the water close and makes the vessel appear firmly embedded in it.
Small pale structures and accents appear above the hull. They give the ship a working complexity without turning every fitting into a separate subject. The larger dark mass remains legible from a distance, while closer looking reveals how little touches of light interrupt it.
Unlike a vessel laid out in a technical drawing, the ship is partly concealed by its surroundings. A wave crosses near the bow; darker water gathers against the side. Its lower contour is a changing boundary rather than a line fully exposed to view.
The main hull nevertheless fits within the scene. There is room to register both ends and to understand the vessel as a whole. The sea extends around it, placing its substantial but limited form within a much larger moving field.
Funnel, masts and smoke
The yellow funnel is the most vivid architectural accent. Its black top and warm body stand out against the sky and the cooler water. Set between the masts, it gives the low ship an immediately recognizable steam-powered character.
The masts are thinner and taller. Their narrow lines divide the sky above the deck, with rigging creating further diagonals. They are delicate beside the broad hull, but their height prevents the vessel from becoming merely a horizontal dark strip.
The smoke moves towards the left across the pale background. Its brown colour relates to the warm funnel while its looser edge contrasts with the ship's constructed forms. The change from a firm upright to a dispersing trail makes the funnel's function visible.
Smoke also gives the upper half a direction. The hull extends across the water below; the trail stretches across the sky above. Between them, the masts connect these two fields vertically.
The resulting arrangement remains compact. Hopper uses a few strongly different forms—a dark length, a warm tube, thin uprights and a loose trail—to make the ship distinctive. Their differences are clearer because the sky around them is relatively open.
Compare: Gloucester Harbor, 1912.
A sea made of successive waves
The water occupies a large portion of the canvas. Dark blue and violet swells rise across the foreground, with irregular white marks identifying foam and crests. The waves do not form a neatly repeated pattern. Their changing angles suggest a surface continually altering around the ship.
Near the lower edge, a broad dark swell crosses the view. Further back, smaller patches and ridges lead towards the vessel. The change of scale makes the sea feel deep and extensive even though the horizon is not sharply emphasized everywhere.
The white foam is sparingly used. Small bright strokes can describe the top of a wave without outlining its whole shape. Their interruption of the darker colour gives the surface a restless rhythm.
At the bow, a larger white patch makes contact between hull and water especially vivid. The vessel is not simply placed over a coloured background. Its passage disturbs the surface, and the surrounding waves partly conceal it in return.
A low strip of land appears towards the right in the distance. It offers a more stable horizontal form beyond the waves, but remains secondary. Most of the picture's space belongs to open water and the vessel confronting it.
Watch: Edward Hopper’s Life and Art
Explore Hopper’s paintings and the places behind them in these museum films. Choose a film below.
Solid hull and moving sea
That movement operates at several scales. The vessel has a directional form; the smoke disperses above it; the waves turn and break around it. Each part has a different pace and kind of edge.
The contrast between solid hull and mobile sea is particularly strong. One can be followed as a long, relatively definite shape, while the other continually changes through overlapping masses. Hopper makes their interaction visible without filling the painting with a detailed narrative about the crew.
The absence of large, clearly described figures keeps attention on this relation. Human work is present through the vessel and its machinery. It does not need to be acted out by an identifiable sailor in the foreground.
Compare: Ground Swell, 1939.
An early subject with a long afterlife
The date falls between Hopper's first extended Paris visit of 1906–07 and his returns in 1909 and 1910. The Art Institute of Chicago's chronology places these journeys within his early years as a painter and commercial illustrator. [3] Tramp Steamer belongs to that developing period, when the subjects of his later career were still taking different forms.
His connection with boats was older still. The Fondation Beyeler's account of his maritime interests notes that he grew up in Nyack, a Hudson River town with a boat-building industry, and made images of many kinds of vessel across his life. [4] This supplies a documented background for the recurring subject without turning the painting into a record of a particular childhood memory.
The Hirshhorn's exhibition history records Tramp Steamer in Rehn's 1941 exhibition of Hopper's early paintings. The work was therefore shown again after the mature artist had become much better known. The same record traces its acquisition by Joseph Hirshhorn in November 1962 and its gift to the Smithsonian in 1966. [1]
These later appearances gave audiences a chance to encounter a less familiar aspect of Hopper. The dark, moving sea differs from the brighter coastal light of some later works, while the sustained interest in vessels and their place within an environment remains apparent.
Ships, trains and changing viewpoints
Railroad Train, also painted in 1908, offers a useful comparison. There the passenger carriage is close and cropped, seen above an embankment. In Tramp Steamer, the vessel is more completely contained, while the water around it occupies a larger share of the field.
Both pictures use smoke and machinery, but the spectator's relation to the moving subject is different. The train passes above us along a constrained line. The ship moves within an irregular surface that reaches towards the foreground and continues into the distance.
Gloucester Harbor makes water part of a wider view of settlement and shore. Its vessels are set among buildings, masts and distant activity. Tramp Steamer concentrates more directly on one ship and the sea immediately around it.
The later Long Leg gives a sailing vessel a very different light and colour. Looking between the works reveals how varied Hopper's maritime subjects could be. The force of this early painting resides in the dark swells, the low black hull and the warm funnel holding their place beneath an open, pale sky.
Artworks and studies directory
This researched directory includes finished works and separately identified studies. It is not a complete catalogue raisonné. Linked titles open the articles; unlinked studies are identified by their collection accessions. Watercolours retain their recorded media, and original prints remain distinct from reproductions.
| Name | Date | Medium |
|---|---|---|
| (Bridge and Embankment) (70.1298) | 1906 | Oil on wood |
| (Jo Sketching at Good Harbor Beach) (70.1129) | 1923–1924 | Watercolor and fabricated chalk on paper |
| (Manhattan Bridge) (70.1098) | 1925–1926 | Watercolor and graphite pencil on paper |
| (Rooftops) (70.1114) | 1926 | Watercolor and graphite pencil on paper |
| (Seated Male Model, Bent Over) (70.1277) | c. 1902–1903 | Oil on canvas |
| (Self-Portrait) (70.1254) | 1903–1906 | Oil on canvas |
| (Solitary Figure in a Theater) (70.1418) | c. 1902–1904 | Oil on board |
| 5 A.M. | 1937 | oil on canvas |
| Adam's House | 1928 | watercolour and charcoal on paper |
| American Village | 1912 | Oil on canvas |
| Apartment Houses | 1923 | oil on canvas |
| Approaching a City | 1946 | oil on canvas |
| August in the City | 1945 | oil on canvas |
| Automat | 1927 | oil on canvas |
| Barber Shop | 1931 | oil on canvas |
| Blackwell's Island | 1928 | oil on canvas |
| Bridge on the Seine | 1909 | Oil on canvas |
| Bridle Path | 1939 | oil on canvas |
| Burly Cobb's House South Truro | 1930–1933 | oil on canvas |
| Cape Cod Evening | 1939 | oil on canvas |
| Cape Cod Morning | 1950 | oil on canvas |
| Chair Car | 1965 | oil on canvas |
| Chop Suey | 1929 | oil on canvas |
| City Roofs | 1932 | Oil on canvas |
| Coast Guard Station | 1929 | oil on canvas |
| Compartment C, Car 293 | 1938 | oil on canvas |
| Conference at Night | 1949 | oil on canvas |
| Corn Hill | 1930 | oil on canvas |
| Dawn in Pennsylvania | 1942 | oil on canvas |
| Drug Store | 1927 | oil on canvas |
| Early Sunday Morning | 1930 | Oil on canvas |
| East Side Interior (70.1020) | 1922 | Etching |
| East Wind Over Weehawken | 1934 | oil on canvas |
| El Palacio | 1946 | Watercolor and graphite pencil on paper |
| Eleven A.M. | 1926 | oil on canvas |
| Evening Wind | 1921 | etching |
| Excursion into Philosophy | 1959 | oil on canvas |
| First Row Orchestra | 1951 | oil on canvas |
| Freight Car at Truro | 1931 | watercolour over graphite on paper |
| Gas | 1940 | oil on canvas |
| Girl at a Sewing Machine | c. 1921 | oil on canvas |
| Gloucester Harbor | 1912 | Oil on canvas |
| Ground Swell | 1939 | oil on canvas |
| Haskell's House | 1924 | watercolour over graphite on paperboard |
| High Noon | 1949 | oil on canvas |
| Hill and Houses Cape Elizabeth Maine | 1927 | watercolour over graphite pencil |
| Hills South Truro | 1930 | oil on canvas |
| Hotel by a Railroad | 1952 | oil on canvas |
| Hotel Lobby | 1943 | oil on canvas |
| Hotel Room | 1931 | oil on canvas |
| Hotel Window | 1955 | oil on canvas |
| House by the Railroad | 1925 | oil on canvas |
| House by the Squam River | 1926 | watercolour over graphite on paper |
| Le Bistro or The Wine Shop | 1909 | Oil on canvas |
| Le Pont des Arts | 1907 | Oil on canvas |
| Le Pont Royal | 1909 | Oil on canvas |
| Le Quai des Grands Augustins | 1909 | Oil on canvas |
| Lighthouse and Buildings Portland Head | 1927 | watercolour over graphite pencil on paper |
| Lighthouse Hill | 1927 | oil painting |
| Manhattan Bridge Loop | 1928 | oil on canvas |
| Model Sitting | c. 1902 | oil painting; support not asserted |
| Morning Sun | 1952 | oil on canvas |
| New York Movie | 1939 | oil on canvas |
| New York New Haven and Hartford | 1931 | oil on canvas |
| New York Office | 1962 | oil on canvas |
| New York Pavements | 1924–1925 | oil on canvas |
| New York Restaurant | c. 1922 | oil on canvas |
| Night Windows | 1928 | oil on canvas |
| Nighthawks | 1942 | oil on canvas |
| October on Cape Cod | 1946 | oil on canvas |
| Office at Night | 1940 | oil on canvas |
| Office in a Small City | 1953 | oil on canvas |
| Pennsylvania Coal Town | 1947 | oil on canvas |
| People in the Sun | 1960 | oil on canvas |
| Portrait of Orleans | 1950 | oil on canvas |
| Queensborough Bridge | 1913 | Oil on canvas |
| Railroad Sunset | 1929 | Oil on canvas |
| Railroad Train | 1908 | oil on canvas |
| Road in Maine | 1914 | oil on canvas |
| Room in Brooklyn | 1932 | oil on canvas |
| Room in New York | 1932 | oil on canvas |
| Rooms by the Sea | 1951 | oil on canvas |
| Rooms for Tourists | 1945 | oil on canvas |
| Route 6 Eastham | 1941 | oil on canvas |
| Second Story Sunlight | 1960 | Oil on canvas |
| Self-Portrait | 1925–1930 | Oil on canvas |
| Self-Portrait with Hat (70.1903) | c. 1918, posthumous print | Drypoint |
| Seven A.M. | 1948 | Oil on canvas |
| Soir Bleu | 1914 | oil on canvas |
| South Carolina Morning | 1955 | Oil on canvas |
| Stairway at 48 Rue de Lille Paris | 1906 | Oil on wood |
| Study for 5 A.M. (70.153) | 1937 | Fabricated chalk on paper |
| Study for 5 A.M. (70.429) | 1937 | Fabricated chalk and graphite pencil on paper |
| Study for Approaching a City (70.869) | 1946 | Fabricated chalk and charcoal on paper |
| Study for August in the City (70.158a-b) | 1945 | Fabricated chalk on paper |
| Study for August in the City (70.159) | 1945 | Fabricated chalk on paper |
| Study for Bridle Path (70.220) | 1939 | Fabricated chalk on paper |
| Study for Bridle Path (70.235) | 1939 | Fabricated chalk on paper |
| Study for Compartment C, Car 293 (70.430) | 1938 | Fabricated chalk on paper |
| Study for Compartment C, Car 293 (70.431a-b) | 1938 | Fabricated chalk and charcoal on paper |
| Study for Conference at Night (70.170) | 1949 | Fabricated chalk on paper (recto); Typewriter ink on paper (verso) |
| Study for Conference at Night (70.174) | 1949 | Fabricated chalk on paper ( recto); Typewriter ink on paper (verso) |
| Study for East Wind over Weehawken (70.249) | 1934 | Graphite pencil on paper |
| Study for East Wind over Weehawken (70.252) | 1934 | Fabricated chalk and charcoal on paper |
| Study for Evening Wind (70.343a-b) | 1921 | Fabricated chalk on paper |
| Study for First Row Orchestra (70.841) | 1951 | Fabricated chalk and charcoal on paper |
| Study for Gas (70.263) | 1940 | Fabricated chalk on paper |
| Study for Ground Swell (70.339) | 1939 | Fabricated chalk, charcoal and graphite pencil on paper |
| Study for Hotel by a Railroad (70.199) | 1952 | Fabricated chalk on paper |
| Study for Hotel by a Railroad (70.427) | 1952 | Fabricated chalk on paper |
| Study for Hotel by a Railroad (70.428) | 1952 | Fabricated chalk on paper |
| Study for Hotel Lobby (70.117) | 1942 | Fabricated chalk and graphite pencil on paper |
| Study for Hotel Lobby (70.839) | 1942 | Fabricated chalk and charcoal on paper |
| Study for Hotel Window (70.161) | 1955 | Fabricated chalk, graphite pencil and colored pencil on paper |
| Study for Morning Sun (70.243) | 1952 | Fabricated chalk on paper |
| Study for Morning Sun (70.244) | 1952 | Fabricated chalk on paper |
| Study for Morning Sun (70.290) | 1952 | Fabricated chalk on paper |
| Study for Morning Sun (70.291) | 1952 | Fabricated chalk and graphite pencil on paper |
| Study for New York Movie (70.273) | 1939 | Fabricated chalk on paper |
| Study for New York Movie (70.274a-b) | 1938 or 1939 | Fabricated chalk and charcoal on paper (recto); Fabricated chalk on paper (verso) |
| Study for New York Movie (70.455) | 1939 | Fabricated chalk and charcoal on paper |
| Study for New York Office (70.822) | 1962 | Fabricated chalk on paper |
| Study for Nighthawks (70.192) | 1941 or 1942 | Fabricated chalk on paper |
| Study for Nighthawks (70.193) | 1941 or 1942 | Fabricated chalk on paper |
| Study for Office at Night (70.340) | 1940 | Fabricated chalk and charcoal on paper |
| Study for Office at Night (70.341) | 1940 | Fabricated chalk and graphite pencil on paper |
| Study for Pennsylvania Coal Town (70.198) | 1947 | Fabricated chalk on paper |
| Study for Pennsylvania Coal Town (70.229) | 1947 | Fabricated chalk and charcoal on paper |
| Study for Rooms for Tourists (70.438) | 1945 | Fabricated chalk and charcoal on paper |
| Study for Rooms for Tourists (70.848) | 1945 | Fabricated chalk and charcoal on paper |
| Study for Route 6, Eastham (70.369) | 1941 | Fabricated chalk and graphite pencil on paper |
| Study for Route 6, Eastham (70.854) | 1941 | Fabricated chalk and graphite pencil on paper |
| Study for South Carolina Morning (70.162a-b) | 1955 | Fabricated chalk on paper (recto and verso) |
| Study for The Sheridan Theatre (70.969) | 1937 | Graphite pencil on paper |
| Study for Two on the Aisle (70.128) | 1927 | Fabricated chalk on paper |
| Study for Two on the Aisle (70.129) | 1927 | Fabricated chalk on paper |
| Study for Yawl Riding a Swell (70.439) | 1935 | Fabricated chalk and graphite pencil on paper |
| Summer Evening | 1947 | oil on canvas |
| Summer Interior | 1909 | Oil on canvas |
| Sun in an Empty Room | 1963 | oil on canvas |
| Sunlight in a Cafeteria | 1958 | oil on canvas |
| Sunlight on Brownstones | 1956 | oil on canvas |
| Tables for Ladies | 1930 | oil on canvas |
| The Bootleggers | 1925 | oil on canvas |
| The Camel's Hump | 1931 | oil on canvas |
| The Circle Theatre | 1936 | oil on canvas |
| The City | 1927 | oil on canvas |
| The Lighthouse at Two Lights | 1929 | oil on canvas |
| The Long Leg | 1935 | oil on canvas |
| The Mansard Roof | 1923 | watercolour over graphite on paper |
| The Sheridan Theatre | 1937 | oil on canvas |
| Tramp Steamer | 1908 | oil on canvas |
| Two Comedians | 1966 | oil on canvas |
| Two on the Aisle | 1927 | oil on canvas |
| Valley of the Seine | 1909 | Oil on canvas |
| Western Motel | 1957 | oil on canvas |
Frequently Asked Questions
Edward Hopper made Tramp Steamer in 1908. [1]
The recorded medium is oil on canvas. [1]
A black-hulled ship moves through dark blue water, its yellow funnel releasing a brown trail across the pale sky. Two slender masts rise above the low body, while white foam breaks against the bow at the right. Edward Hopper's Tramp Steamer gives the surrounding sea as much force as the vessel crossing it. The ship is clearly defined, but the water continually rises, falls and interrupts its lower edge.
Discussion
Look again at the images and ideas explored in Tramp Steamer. These editorial prompts invite your observations.
Reader Insights
Which boundary, gesture or change of light first holds your attention in Tramp Steamer?
Compare Gloucester Harbor with Tramp Steamer. Which visual difference matters most to your reading?
Which detail would you look at again after reading “Funnel, masts and smoke”?
Join the Conversation
Share a detail, comparison or question about Tramp Steamer below.
References
- Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Tramp Steamer, 1908, accession 66.2508; current metadata, provenance and exhibition history. Also available through the Smithsonian collection record. View source 1. View source 2.
- Roy Fenton and Hugh Murphy, “A Major Scottish Tramp Ship and Cargo Liner Company: Andrew Weir's Bank Line—1875–2016. Part 1, 1875–1970”, The Northern Mariner / Le marin du nord 34, no. 3 (Autumn 2024), pp. 373–414, especially p. 377, for the distinction between tramp and liner shipping. View source.
- Art Institute of Chicago, Edward Hopper: Selected Chronology, early career and European visits. View source.
- Fondation Beyeler, Edward Hopper, English exhibition guide, 2020, Lee Shore entry, PDF p. 6, on Nyack and Hopper's lifelong maritime subjects. View source.
- Collection or catalogue record, American Village, 1912; medium and identity as discussed in the linked article. View source.
- Collection or catalogue record, Soir Bleu, 1914; medium and identity as discussed in the linked article. View source.
- Collection or catalogue record, House by the Railroad, 1925; medium and identity as discussed in the linked article. View source.
- Collection or catalogue record, Automat, 1927; medium and identity as discussed in the linked article. View source.
- Collection or catalogue record, Early Sunday Morning, 1930; medium and identity as discussed in the linked article. View source.
- Collection or catalogue record, New York Movie, 1939; medium and identity as discussed in the linked article. View source.
- Collection or catalogue record, Nighthawks, 1942; medium and identity as discussed in the linked article. View source.
- Collection or catalogue record, Morning Sun, 1952; medium and identity as discussed in the linked article. View source.
- Collection or catalogue record, Second Story Sunlight, 1960; medium and identity as discussed in the linked article. View source.
- Collection or catalogue record, Two Comedians, 1966; medium and identity as discussed in the linked article. View source.
- Whitney Museum of American Art, Study for Route 6, Eastham, 1941, accession 70.854; exact object record. View source.
- Whitney Museum of American Art, Study for Conference at Night, 1949, accession 70.170; exact object record. View source.
- Whitney Museum of American Art, Study for First Row Orchestra, 1951, accession 70.841; exact object record. View source.
- Whitney Museum of American Art, (Bridge and Embankment), 1906, accession 70.1298; exact object record. View source.
- Whitney Museum of American Art, (Seated Male Model, Bent Over), c. 1902–1903, accession 70.1277; exact object record. View source.
- Whitney Museum of American Art, Study for Morning Sun, 1952, accession 70.244; exact object record. View source.
- Whitney Museum of American Art, Study for Morning Sun, 1952, accession 70.243; exact object record. View source.
- Whitney Museum of American Art, Study for Two on the Aisle, 1927, accession 70.128; exact object record. View source.
- Whitney Museum of American Art, Study for New York Office, 1962, accession 70.822; exact object record. View source.
- Whitney Museum of American Art, Study for Two on the Aisle, 1927, accession 70.129; exact object record. View source.
- Whitney Museum of American Art, Study for Pennsylvania Coal Town, 1947, accession 70.229; exact object record. View source.
- Whitney Museum of American Art, (Rooftops), 1926, accession 70.1114; exact object record. View source.
- Whitney Museum of American Art, Study for South Carolina Morning, 1955, accession 70.162a-b; exact object record. View source.
- Whitney Museum of American Art, (Self-Portrait), 1903–1906, accession 70.1254; exact object record. View source.
- Whitney Museum of American Art, (Manhattan Bridge), 1925–1926, accession 70.1098; exact object record. View source.
- Whitney Museum of American Art, (Solitary Figure in a Theater), c. 1902–1904, accession 70.1418; exact object record. View source.
- Whitney Museum of American Art, Study for Approaching a City, 1946, accession 70.869; exact object record. View source.
- Whitney Museum of American Art, Study for August in the City, 1945, accession 70.159; exact object record. View source.
- Whitney Museum of American Art, Study for Compartment C, Car 293, 1938, accession 70.430; exact object record. View source.
- Whitney Museum of American Art, Study for Compartment C, Car 293, 1938, accession 70.431a-b; exact object record. View source.
- Whitney Museum of American Art, Study for East Wind over Weehawken, 1934, accession 70.252; exact object record. View source.
- Whitney Museum of American Art, Study for East Wind over Weehawken, 1934, accession 70.249; exact object record. View source.
- Whitney Museum of American Art, Study for Evening Wind, 1921, accession 70.343a-b; exact object record. View source.
- Whitney Museum of American Art, Study for The Sheridan Theatre, 1937, accession 70.969; exact object record. View source.
- Whitney Museum of American Art, Study for New York Movie, 1939, accession 70.455; exact object record. View source.
- Whitney Museum of American Art, Study for New York Movie, 1939, accession 70.273; exact object record. View source.
- Whitney Museum of American Art, Study for New York Movie, 1938 or 1939, accession 70.274a-b; exact object record. View source.
- Whitney Museum of American Art, Study for 5 A.M., 1937, accession 70.153; exact object record. View source.
- Whitney Museum of American Art, Study for 5 A.M., 1937, accession 70.429; exact object record. View source.
- Whitney Museum of American Art, (Jo Sketching at Good Harbor Beach), 1923–1924, accession 70.1129; exact object record. View source.
- Whitney Museum of American Art, Study for August in the City, 1945, accession 70.158a-b; exact object record. View source.
- Whitney Museum of American Art, Study for Morning Sun, 1952, accession 70.291; exact object record. View source.
- Whitney Museum of American Art, Study for Morning Sun, 1952, accession 70.290; exact object record. View source.
- Whitney Museum of American Art, Study for Office at Night, 1940, accession 70.340; exact object record. View source.
- Whitney Museum of American Art, Study for Office at Night, 1940, accession 70.341; exact object record. View source.
- Whitney Museum of American Art, Study for Hotel by a Railroad, 1952, accession 70.427; exact object record. View source.
- Whitney Museum of American Art, Study for Hotel by a Railroad, 1952, accession 70.199; exact object record. View source.
- Whitney Museum of American Art, Study for Hotel by a Railroad, 1952, accession 70.428; exact object record. View source.
- Whitney Museum of American Art, Study for Hotel Lobby, 1942, accession 70.117; exact object record. View source.
- Whitney Museum of American Art, Study for Hotel Lobby, 1942, accession 70.839; exact object record. View source.
- Whitney Museum of American Art, Study for Conference at Night, 1949, accession 70.174; exact object record. View source.
- Whitney Museum of American Art, Study for Hotel Window, 1955, accession 70.161; exact object record. View source.
- Whitney Museum of American Art, Study for Pennsylvania Coal Town, 1947, accession 70.198; exact object record. View source.
- Whitney Museum of American Art, Study for Route 6, Eastham, 1941, accession 70.369; exact object record. View source.
- Whitney Museum of American Art, Study for Bridle Path, 1939, accession 70.220; exact object record. View source.
- Whitney Museum of American Art, Study for Bridle Path, 1939, accession 70.235; exact object record. View source.
- Whitney Museum of American Art, Study for Ground Swell, 1939, accession 70.339; exact object record. View source.
- Whitney Museum of American Art, Study for Yawl Riding a Swell, 1935, accession 70.439; exact object record. View source.
- Whitney Museum of American Art, Study for Rooms for Tourists, 1945, accession 70.848; exact object record. View source.
- Whitney Museum of American Art, Study for Rooms for Tourists, 1945, accession 70.438; exact object record. View source.
- Whitney Museum of American Art, Study for Nighthawks, 1941 or 1942, accession 70.193; exact object record. View source.
- Whitney Museum of American Art, Study for Nighthawks, 1941 or 1942, accession 70.192; exact object record. View source.
- Whitney Museum of American Art, Study for Gas, 1940, accession 70.263; exact object record. View source.
- Whitney Museum of American Art, Self-Portrait with Hat, c. 1918, posthumous print, accession 70.1903; exact object record. View source.
- Whitney Museum of American Art, East Side Interior, 1922, accession 70.1020; exact object record. View source.
- Art Institute of Chicago, Selected Chronology for Edward Hopper; training, travels, exhibitions, New York and Truro chronology. View source.
- Emily C. Burns, Spectral figures: Edward Hopper’s empty Paris, chapter 5 in Empty Spaces: Confronting Emptiness in National, Cultural and Urban Histories, 2019; complete chapter and notes consulted. View source.
- Charles Brock, Regionalism and Folk Art, National Gallery of Art; complete essay and two notes consulted. View source.
