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Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper
Second Story Sunlight - Edvard Hopper

Second Story Sunlight - Edvard Hopper

Peaceful and calm, the atmosphere seems to be diluted in a cerulean sea that cannot be seen but towards which the two protagonists look.

The two houses, similar in every way, reveal a subtle but palpable distance, just like the two contemplators.

The solitude anchored between them fills the void to better unite them.

The melancholy of the past, the social mutations are revealed and show relationships that have been erased or lost forever.

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The artwork in a nutshell

Peaceful and calm, the atmosphere seems to be diluted in a cerulean sea that cannot be seen but towards which the two protagonists look.

The two houses, similar in every way, reveal a subtle but palpable distance, just like the two contemplators.

The solitude anchored between them fills the void to better unite them.

The melancholy of the past, the social mutations are revealed and show relationships that have been erased or lost forever.

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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