Edward Hopper

Depicts the night in a New York bar and its last customers. The work became an American icon for the youth of the time. The image clearly portrays the loneliness of the big city and modern existence.

In Hopper's compositions, it is very common to find a horizontal dividing element, which sharply separates the observer from the world within the painting. In this case, he uses a railroad track for this purpose.

With this, according to experts, he makes the work impenetrable, establishing a dividing line that further enhances the feelings of loneliness and melancholy.

Work inspired by the urban environment of the United States in the 1920s. It shows two friends having tea and conversing, dressed in the typical attire of the era.

The work depicts a woman sitting on the bed in her hotel room, evoking the solitude and coldness of the morning, a frequent inspiration for the artist.

The image of the painting denotes the loneliness of a woman on her bed, receiving the rays of the morning sun and looking melancholically through the window.

This work is based on the view from the balcony in Hopper's summer studio in Massachusetts, where the artist matured his technique for painting light effects. The interest in painting such contrasts had accompanied him since the beginning of his artistic career.

Depicts a woman in a café in front of a window, through which the city's night lighting is visible.

Depicts an urban panorama made up of a low-rise building in vivid tones: green and red. The deserted city, the static landscape, and the colors, reminiscent of the painting Gas, and the "railroad tracks" series. Few like Hopper embellish with generous realistic details while simultaneously consolidating an art of such tranquil character.

The artist surprises once again with the characteristic warmth of his compositions: two rural cabins at the foot of the track, bushes and small trees wrapped with the first rays of the morning, which only reveal their silhouette.

Belonging to the artist's earliest artistic phase, this particular work is an exercise in perspective and geometric composition.

The techniques of lighting, coloring, and arrangement of elements were powerfully developed throughout his career, as exemplified in works like: Sunset on Cape Cod (similar perspective) and Ground Swell (similar treatment of light).

A sportive maritime scene, depicting a group of young people sailing a yacht in the waves. A very recognizable characteristic of his style is the clarity he attributes to sunny days in his canvases, as usual, there are no sun or rays, only the enveloping effect of both.

It depicts a classic American roadside gas station from the 50s. Notable is the attire of the man, in a suit and tie (as was often customary in those years), and the absence of the element that would complete the concept, in this case: cars. As usual in Hopper's works, for example: Four-lane Road (without cars) or House by the Railroad (without people or train).

A maritime scene featuring a sailboat and the sea with a background of a small beach town. The work is considered an aesthetic model of art that blends sports imagery and landscape.

Hopper is the modern specialist in conferring intensity and psychological complexity to the most ordinary moments. The viewer is immersed in the carefully composed scenes, identifying with or pondering about the characters, who usually appear isolated.

The composition is simple: three people in the stands of an empty theater, this was the first of many works where the artist would paint theaters.

The work features three guests waiting, each in their own way, in the checkerboard reception of a hotel, the charmless lobby is struck by the vital intricacies of the characters.

The artist conveys in his painting, mundane scenes of modern life, sprinkled with characters with a manifest inner world, and he achieves this masterfully in this painting.

It depicts the sunset in Cape Cod, Massachusetts, USA. The artist captures the warm green and yellow tones that the sun reflects on the landscape of houses and vegetation.

The canvas exhibits a scene of a 1930s American office where work is still ongoing. The artist aims to highlight the frivolity of the urban customs of New York during that era.

Portrays in his unique bohemian style, a characteristic social scene of the 1920s in the United States.

Created in the last artistic phase of the painter, two characters, husband and wife, appear as attendants of a typical American gas station in the middle of nowhere, stretching the hours in wait for ephemeral customers.

The same type of fuel dispenser can be seen in the canvas "Gasoline".