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Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper
Early Sunday morning - Edvard Hopper

Early Sunday morning - Edvard Hopper

Sunday, a day attributed to respite, usually a source of reunion and entertainment, is here a complete absence of interaction.

Whether peaceful or deserted, the architecture transposes a complex psychic scheme where depression, melancholy, solitude and complacency lead the way.

The chromatic palette remains very elementary, the composition of the rectilinear environment leaves no room for any source of movement.

The unruffled landscape nevertheless harbours existence, through the presence of these businesses and the subtle interplay of light and shadow.

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The artwork in a nutshell

Sunday, a day attributed to respite, usually a source of reunion and entertainment, is here a complete absence of interaction.

Whether peaceful or deserted, the architecture transposes a complex psychic scheme where depression, melancholy, solitude and complacency lead the way.

The chromatic palette remains very elementary, the composition of the rectilinear environment leaves no room for any source of movement.

The unruffled landscape nevertheless harbours existence, through the presence of these businesses and the subtle interplay of light and shadow.

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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