Edward Hopper, ‘N.Y.U. Student’, ca. 1900, Thurston Royce Gallery of Fine Art, LTD.

This drawing is representative of the anonymous members of various classes whom Hopper encountered on the streets of New York or invited to his Washington Square studio as models.
The simplification of outline and spare use of detail to indicate volume is used in the rear-view of the bulky fur coat the woman is wearing. Its soft formless shape hints at the voluptuous form beneath. The woman is primarily identified by this coat, lent additionally by her well-coffed long brunette hair, high-heel pumps and the object she is holding in front of her. This object suggests an extension of her right breast as she stands on a street corner waiting for the light to change.
A comparison between this drawing and Hoppers 1921 etching Evening Wind is telling in that in both sheets the face of the woman is not shown. In the etching, the face is obscured beneath the subject's long hair as it is tossed by a strong gust of air through the open window.

Signature: Signed E. Hopper, lower right.

The artist, until 1967; to his widow, Jo Hopper, until 1968; to private collection, until the present.

About Edward Hopper

Edward Hopper defined 20th-century realism with his austere, eerie scenes that conveyed the alienation and isolation of modern life. Nighthawks (1942), a painting of three customers sitting at the counter of a diner late at night, is among his most famous works. The illusion of light pervades his paintings, which depict late 19th-century architecture, coastal views, and scenes of the city. Hopper’s characters, even when painted in groups, seem disconnected and lost in thought. "Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world," he said.

American, 1882-1967, Nyack, New York, based in Maine, Massachusetts and New York