Do YOU Know…Josephine Nivison Hopper?

 

    As I was starting my research for this post, I had fully intended to write a piece about one of my favorite artists, Edward Hopper.  Somewhere, between reading Edward Hopper | Masterpieces of Art, from my home library, and the slew of articles about him online, I got distracted and meandered down a different path.

    Whenever I hear the name Edward Hopper, the first thing that comes to mind is his famous piece, Nighthawks (1942).  Naturally, I started with this work, as I began my search.  To my surprise, the name of the piece, Nighthawks, was suggested by Mr. Hopper’s wife.  As she had been mentioned in several readings, I decided to have a look at her story, as well.  I was rather taken aback with what I discovered.  As a matter of fact, the entire lot made me change my mind about the man, whose art I had long admired, and his unlikely, yet successful, appearance into the art world. 

    The above artwork, Self Portrait (1956), is by Josephine Nivison Hopper.  Jo, as she was known, was not only Eddie’s (as his sister, Marion, referred to him) wife, but an artist in her own right, and the springboard he used to skyrocket his career.  

    Josephine Verstille Nivison was born March 18, 1883, in Manhattan, New York City, New York.   As was the custom for some young women, Jo decided to enroll in Normal College (now Hunter College) and receive her teaching certificate.  After receiving her BA, in 1904, Jo decided to pursue her new love of art, and enrolled in the New York School of Art, where she studied under Robert Henri.  It was here, where Jo and Eddie first met, and maintained a relationship as, merely, classmates.  It wasn’t until 1923, on a summer vacation in Gloucester, Massachusetts, when their paths crossed again, and common interests sparked a romance.  

    At the time, Jo was displaying six of her watercolor pieces at the Brooklyn Museum.  Having encouraged Eddie to take up watercolor painting, she was able to convince the museum to host six of his pieces.  Without Jo’s encouraging him to try watercolor and convincing the organizers of the show to display his work, the Brooklyn museum would have, probably, never discovered Edward Hopper, and, consequently, would not have purchased one of his pieces.  That piece, The Mansard Roof  (1923), in turn, gained him a wider critical audience.  And…there it is, the spark, which started his career, and began his legacy.  It is little wonder that Eddie would marry Jo a year later.

    For the next 43 years, Jo would find herself painting less, as she not only managed her husband’s career, but also served as his model and caretaker.  Theirs was a volatile union which, according to some sources, often resulted in physical altercations.  In spite of the difficulties, she remained faithful to him and to the advancement of his art and place in history.  In spite of her dedication to his career, Jo still continued to paint, upon occasion.  She even managed to secure a few personal showings of her works throughout the years, and was honored with the Huntington Hartford Foundation Fellowship in 1957.  

    Upon studying Jo’s work, I found that both she and her husband would often paint the same subject.  I had, in my mind, that he was painting solo at these locations.  In fact, if Jo were not modeling for him, she was still there, and, often times, painting beside him.  Below, is an example of such an instance.  

Railroad Gates, Gloucester Josephine Nivison Hopper

Railroad Gates, Gloucester Edward Hopper

    In my opinion, one of the most striking differences is the palette choices of the two artists.  Both saw the same scene, but each had their own interpretation.  While Jo’s work displays a cheerful scene, with her vibrant colors and fluid brushstrokes, her husband’s piece uses a warm palette and harsh edges, which give an overall feeling of darkness to the atmosphere.  

    As I said at the beginning of this post, I’ve always loved Edward Hopper’s work.  Although, seeing their artwork side by side, I’m honestly more drawn to Jo’s piece.  Perhaps, it’s the research into the man, himself, that is overriding my original fondness.  Or, maybe, it’s the fact that Jo’s body of work shows happiness and vibrancy, and gives one the sense that she persevered with a joyful heart in the face of adversity.  Whatever the reason behind my change of heart, I am happy to now know the woman behind the man, whose art I have spent time admiring.  And, in the end, Jo got the last laugh.

 

    In the early 2000s, a then-grad student, Elizabeth Thompson Colleary, embarked upon a journey to learn more about Josephine Nivison Hopper.  Her road led her to the Whitney Museum of Modern Art, where she found, stored away and untouched for decades, a large body of Jo’s work.  Consequently, in April 2014, Ms. Colleary curated a show of Jo’s work, entitled Grace De Coeur at the Edward Hopper House.  Finally, the woman who brought Edward Hopper into the limelight and helped to establish his place in history, is, now, making a long overdue history of her own.  

To learn more about Jo, please see my sources below:

https://news.artnet.com/art-world/jo-nivison-hopper-2086277

https://www.fembio.org/english/biography.php/woman/biography/josephine-nivison-hopper/

https://www.edwardhopperhouse.org/muse-josephinenivisonhopper.html

https://www.edwardhopperhouse.org/jo-hopper-grace-de-coeur.html

Edward Hopper | Masterpieces of Art by Rosalind Ormiston (Flame Tree publishers)