His essential subject is light! 

Edward Hopper (1882-1967) was born in Nyack, New York.  His early painting was done in a dark manner; but his palette brightened after a stay in Paris (1906-1907).  While in Paris, he concentrated on creating an art of intense realism from the materials of the familiar world. 

Hopper once defined his credo: "Instead of subjectivity, a new objectivity; instead of abstraction, a reaffirmation of representation and specific subject matter; instead of internationalism, an art based on the American scene."  In all of his paintings, architecture plays a leading role.  

Often the houses and streets seem uninhabited, and a sense of drama is created by the very absence of people.  But even where human figure appear, they are not really people, but simply types.  But whether people are absent or not, a feeling of isolation and loneliness is always present.

Hopper set his goals modestly but firmly: "My aim in painting was always been the most exact transcription possible of my most intimate impressions of nature."  He also said that all he wanted to do was to paint sunlight on the side of a house.  There can be no doubt that his essential subject is light which defines mood and scene.

Fascinated by everyday sights rather than by splendor, he presents the world he knows---a small town street, a cafeteria, a movie theater---always in the sharp,  glaring light.  His effort was toward simplification, toward the omission of naturalistic details.

Last summer I spent a lot of time at the Arcadia library, in Southern California, studying various masters' philosophies.  Each time I was attracted by the sunlight on the side of Library.  Finally, I was able to paint the above painting.