dr. carol troyen) did he see himself that way? yes and no.pper said that the critics give you an identity and sometimes you give it a push. so that, when in the 1930s, he was described as the yankee painter, stalwart, independent and upright, he was willing to be that even though he had another side of his personality, the kind of romantic, inward, turn-of-the-century, brooding artist that always remained with him. (narrator) always restless for new locations, the hoppers spent the summers of 1927 and 1929 in maine. working in both oil and watercolor, edward continued to paint real places infused with sunlight. hopper was intrigued by the lighthouses that dot the rocky coast-- an intersection of strong verticals, diagonals and horizontals with light and shade. sometimes he cropped them, chopping off what would be the picturesque subject for other painters, to make his own statement. hopper's modernity was shaped in part by the american past. early sunday morning, painted in 1930, combines his reverence for the architecture of the previous cen