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Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper
Room by the sea  - Edvard Hopper

Room by the sea - Edvard Hopper

A scene of ordinary life. The room with the unobstructed view visible from the main door seems to open onto an unimaginable void from which the sea will always be visible.

The two minimalist rooms are exposed in a game of mirrors where the layout and the light are presented and repeated in the same form, as if no escape were possible except by taking the plunge towards a dizzying freedom.

A hidden symbol of loneliness and sadness where mental charges obscure all possibilities of dreams, nothing in these rooms can compete with the sea.

In this light caught between four walls, Hopper fills the space with the mystery of existence and the enigmas of his mind.

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The artwork in a nutshell

A scene of ordinary life. The room with the unobstructed view visible from the main door seems to open onto an unimaginable void from which the sea will always be visible.

The two minimalist rooms are exposed in a game of mirrors where the layout and the light are presented and repeated in the same form, as if no escape were possible except by taking the plunge towards a dizzying freedom.

A hidden symbol of loneliness and sadness where mental charges obscure all possibilities of dreams, nothing in these rooms can compete with the sea.

In this light caught between four walls, Hopper fills the space with the mystery of existence and the enigmas of his mind.

The artist

In his early years, Hopper was a student of Robert Henri, head of the Ashcan School. Convinced that artists should portray precarious conditions, he promoted a bold urban realism. Although this teaching ended in 1906, Hopper continued to follow it throughout his career. From then on, as a solitary giant, he would detach himself from all the new artistic movements taking place in the background and take refuge in French literature and practice by painting impressionist panoramic views. Thus, a nascent formation in urban realism was introduced, whose brushstrokes would paint an instinctive movement devoid of judgment and sentimentality. An inveterate portraitist of melancholy, human detachment becomes the subject of his entire creative process. He will never cease to convey the confrontation between the desolate urban world and the haunting rurality. This fusion created a world of solitude and anguish, making him the most important American Naturalist of the 20th century.
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