The Camel's Hump - Edward Hopper
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Beskrivning
A 1931 oil painting by Edward Hopper, capturing the rugged terrain of the Green Mountains in Vermont with a focus on light and shadow.
Painted in 1931, The Camel's Hump depicts the distinctive geological formation located in the Green Mountains of Vermont. During this period, Edward Hopper spent several summers in the region, finding subject matter that differed from his more familiar urban scenes. The composition focuses on the rolling terrain, capturing the interplay between the sunlit slopes and the deep shadows cast across the valley floor.
Hopper employs a palette dominated by ochre, olive, and deep brown tones, which contrast with the expansive, pale blue sky. The brushwork is deliberate, defining the contours of the hills while maintaining a sense of stillness. Unlike his later works, which often feature architectural elements or solitary figures, this piece concentrates on the physical presence of the terrain. The light appears to be late afternoon, creating long, dramatic shadows that define the topography of the mountain.
This work demonstrates Hopper's ability to apply his characteristic sense of isolation to the natural world. The absence of human presence allows the viewer to focus entirely on the textures of the grass and the solid mass of the mountain. It remains a clear example of his approach to American Realism, where the observation of light and form takes precedence over narrative detail. The painting is currently held in the collection of the Whitney Museum of American Art, reflecting the artist's long association with the institution.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Camel's Hump - Edward Hopper
Artist Biography
Edward Hopper
He grew up in Nyack, a small town on the Hudson River, studied illustration, then moved to Robert Henri's painting class at the New York School of Art. Henri was the central figure of the Ashcan School, which painted American life without prettifying it. Hopper absorbed the directness but not the social energy. His paintings got quieter, more still, more concerned with what people look like when they think nobody is watching.
He went to Paris three times between 1906 and 1910 and came back with Degas and Manet in his head: cropped compositions, angled light, figures caught mid-thought. Then he spent a decade failing commercially, working as an illustrator to pay the bills, and painting watercolours that nobody bought. Success came late. His first solo show was at forty-one.
In 1924 he married Josephine Nivison, a painter who had also studied under Henri. She modelled for nearly every female figure in his paintings, managed his career, and kept detailed records of every work he produced. The marriage was difficult. Both of them had sharp tempers. She engineered his public image as a recluse, which he was, mostly.
Nighthawks, the diner painting, was made in 1942. Jo named it. Hopper admitted he was probably painting the loneliness of a large city, though he was reluctant to say so directly. The diner has no visible door. People have pointed this out for eighty years and nobody has determined whether it was intentional.
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