+ 1 (707) 877-4321
+ 33 977-198-888
English
Français
Deutsch
Italiano
Español
Русский
中国
Português
日本

Sunday, Oil On Canvas by Edward Hopper (1882-1967, United States)

FREE Shipping. FREE Returns All the time. See details.

Art Reproduction Fine Art Sunday - Oil On Canvas By Edward Hopper , Art Reproduction Fine Art Sunday - Oil On Canvas By Edward Hopper
Sunday, Oil On Canvas by Edward Hopper (1882-1967, United States)
Art Reproduction Fine Art Sunday - Oil On Canvas By Edward Hopper , Art Reproduction Fine Art Sunday - Oil On Canvas By Edward Hopper

"Sunday"

Edward Hopper - Oil On Canvas - 86 x 74 cm - 1926 - (The Phillips Collection (Washington, United States))

Sunday is characteristic of Hopper's vision of twentieth-century America. At first commonplace, his art has unexpected resonance, showing the significant rather than the beautiful. The interplay between particular and generalized components, an ongoing aspect of Hopper's work, contributes to the work's vitality, making it at once familiar and unfamiliar.
Hopper’s art conveys the realities of the human condition genuinely and truthfully. Images such as Sunday provided visual form to prevailing states of mind—often of unfulfilled longing or nostalgia—in the United States. Hopper's most influential teacher, Robert Henri, had already explored subjects inspired by contemporary experience, but Hopper's work is sharper and tougher than Henri's. Finding most American Scene art sentimental and obvious, Hopper disliked being identified as a proponent of the movement. By the 1920s, however, his art dealt exclusively with American subjects.
During 1926, the same time in which Sunday was executed, America was experiencing the early effects of the Great Depression. This work illustrates the national anxiety and disillusionment of the later part of the decade. Hopper’s characteristic style reveals the essential isolation of the individual, the troubled relationships and tensions within the environment.
Sunday depicts a spare street scene. In the foreground, a solitary, middle-aged man sits on a sunlit curb, smoking a cigar. Behind him is a row of old wooden buildings, their darkened and shaded windows suggesting stores, perhaps closed for the weekend or permanently. Oblivious to the viewer's gaze, the man seems remote and passive. His relationship to the nearby buildings is uncertain. Who is he? Is he waiting for the stores to open? When will that occur? Sunlight plays across the forms, but curiously, it lacks warmth. Devoid of energy and drama, Sunday is ambiguous in its story but potent in its impression of inertia and desolation.
Duncan Phillips was the first to point to contrasting content in the work: "The grim scene is just as we remember it, only more so. The light conveys the emotion which is a blend of pleasure and depression--pleasure in the way the notes of yellow, blue-green, gray-violet and tobacco-brown take on a rich intensity in the clear air—and depression induced by this same light and these same colors as we sense them through the boredom of the solitary sitter on the curb.... Hopper defies our preconceptions of the picturesque and unflinchingly accepts the challenge of American subjects which seem almost too far beyond the scope even of the realistic artist's alchemy."



This artwork may be protected by copyright. It is posted on the site in accordance with fair use principles

Reproductions or prints are not available for this artwork
We use here Copyright term based on authors' deaths according to Copyright Law, (70 years). 
Artworks protected by copyright are supposed to be used only for contemplation. Images of that type of artworks are prohibited for copying, printing, or any kind of reproducing and communicating to public since these activities may be considered copyright infringement. More



Loading Edward Hopper biography....









 



 



WahooArt.com - Edward Hopper
Arts & Entertainment > Hobbies & Creative Arts > Artwork
A-8BWPDS----EN-
Sunday, Oil On Canvas by Edward Hopper (1882-1967, United States)
/Art.nsf/O/8BWPDS/$File/Edward-Hopper-Sunday.JPG
Sunday is characteristic of Hopper's vision of twentieth-century America. At first commonplace, his art has unexpected resonance, showing the significant rather than the beautiful. The interplay between particular and generalized components, an ongoing aspect of Hopper's work, contributes to the work's vitality, making it at once familiar and unfamiliar. Hopper’s art conveys the realities of the human condition genuinely and truthfully. Images such as Sunday provided visual form to prevailing states of mind—often of unfulfilled longing or nostalgia—in the United States. Hopper's most influential teacher, Robert Henri, had already explored subjects inspired by contemporary experience, but Hopper's work is sharper and tougher than Henri's. Finding most American Scene art sentimental and obvious, Hopper disliked being identified as a proponent of the movement. By the 1920s, however, his art dealt exclusively with American subjects. During 1926, the same time in which Sunday was executed, America was experiencing the early effects of the Great Depression. This work illustrates the national anxiety and disillusionment of the later part of the decade. Hopper’s characteristic style reveals the essential isolation of the individual, the troubled relationships and tensions within the environment. Sunday depicts a spare street scene. In the foreground, a solitary, middle-aged man sits on a sunlit curb, smoking a cigar. Behind him is a row of old wooden buildings, their darkened and shaded windows suggesting stores, perhaps closed for the weekend or permanently. Oblivious to the viewer's gaze, the man seems remote and passive. His relationship to the nearby buildings is uncertain. Who is he? Is he waiting for the stores to open? When will that occur? Sunlight plays across the forms, but curiously, it lacks warmth. Devoid of energy and drama, Sunday is ambiguous in its story but potent in its impression of inertia and desolation. Duncan Phillips was the first to point to contrasting content in the work: "The grim scene is just as we remember it, only more so. The light conveys the emotion which is a blend of pleasure and depression--pleasure in the way the notes of yellow, blue-green, gray-violet and tobacco-brown take on a rich intensity in the clear air—and depression induced by this same light and these same colors as we sense them through the boredom of the solitary sitter on the curb.... Hopper defies our preconceptions of the picturesque and unflinchingly accepts the challenge of American subjects which seem almost too far beyond the scope even of the realistic artist's alchemy."
Edward Hopper
Oil On Canvas
Oil On Canvas
-- -- -- -- -- -