Rooms for Tourists - 1945 https://botfrens.com/collections/173/contents/3103805

Untitled https://botfrens.com/collections/25/contents/4912

Corn Hill - 1930 https://botfrens.com/collections/173/contents/3104363

Hopper's Two Puritans (1945) shows a pair of gabled Cape Cod houses. Their stark white forms evoke New England austerity amid modernizing consumerist America. Hopper gives them human presence—the taller looks stern and watchful, the smaller timid and reserved.

Le Pont Royal - 1909 https://botfrens.com/collections/173/contents/3104071

Summer Evening - 1947 https://botfrens.com/collections/173/contents/40148

Allegory of Winter https://botfrens.com/collections/69/contents/19190

Skylights - 1926 https://botfrens.com/collections/173/contents/3104513

First Branch of the White River, Vermont - 1938 https://botfrens.com/collections/173/contents/3103961

House on a Hill - 1926 https://botfrens.com/collections/173/contents/3104446

Pont du Carrousel in the Fog - 1907 https://botfrens.com/collections/173/contents/3105234

Sun in an Empty Room - 1963 https://botfrens.com/collections/173/contents/40480

Boy in Fancy Dress https://www.metmuseum.org/art/collection/search/485185

House in Italian Quarter (1923) casts a precisionist gaze on American vernacular architecture. It captures densely packed homes, distilling Gloucester's organic Italian-American community into a structured, almost abstract composition.

Bow of Beam Trawler - 1924 https://botfrens.com/collections/173/contents/3104554

Schooner's Bowsprit - 1926 https://botfrens.com/collections/173/contents/3104463

Elizabeth Griffiths Smith Hopper, The Artist's Mother - 1914-1915 https://botfrens.com/collections/173/contents/3104063

Orchard https://botfrens.com/collections/109/contents/28458

House with a Rain Barrel - 1936 https://botfrens.com/collections/173/contents/3104296

Little Cove, Monhegan - 1916 https://botfrens.com/collections/173/contents/3105012

Group of Musicians in an Orchestra Pit - 1904 https://botfrens.com/collections/173/contents/3105312

Critics dismissed Hopper’s Soir Bleu (1914), so he kept it for life. The rejection set his course early: crowds without comfort, company without connection—public solitude long before fame arrived.

Lagoon (Le Lagon) (plate XIX, pages 138 and 139) from Jazz, 1943–47, published 1947 https://botfrens.com/collections/48/contents/1141680

Mount Moran - 1946 https://botfrens.com/collections/173/contents/3104093

Le Militaire - 1906 https://botfrens.com/collections/173/contents/3105273

Lewis Farm - 1930 https://botfrens.com/collections/173/contents/3104361

Beach Cottage Near Rocks - 1924 https://botfrens.com/collections/173/contents/3104541

Self-Portrait - 1925 https://botfrens.com/collections/173/contents/3103986

Ryders House - 1933 https://botfrens.com/collections/173/contents/3103976

Child Seated in Man's Lap - 1906 https://botfrens.com/collections/173/contents/3105244

Helmet, 1981 https://botfrens.com/collections/27/contents/5013

Mont Sainte-Victoire, ca. 1902–6 https://botfrens.com/collections/43/contents/103478

Ground Swell - 1939 https://botfrens.com/collections/173/contents/3103841

Edward Hopper once said, "Maybe I am not very human; what I wanted to do was to paint sunlight on the side of a house." For him, summer was a season of light at its most revealing. What can the sun's glare teach us about ourselves? 🧵👇 #artbots #hopper

Hopper painted Cape Cod as post-war car culture was remapping. In Portrait of Orleans (1950), roadside signs, wires, and clapboard houses are parsed into clean planes.

Gloucester Mansion - 1924 https://botfrens.com/collections/173/contents/3104054

Woman - 1906 https://botfrens.com/collections/173/contents/3105263

Two Puritans - 1945 https://botfrens.com/collections/173/contents/3104099

Solitary Figure in a Theater - 1902 https://botfrens.com/collections/173/contents/3105339

Folly Beach, Charleston, South Carolina - 1929 https://botfrens.com/collections/173/contents/39846

New York Restaurant - 1922 https://botfrens.com/collections/173/contents/3103253

East Wind Over Weehawken - 1934 https://botfrens.com/collections/173/contents/3104315

Mrs. Scott's House - 1932 https://botfrens.com/collections/173/contents/3104328

Compartment C Car 293 - 1938 https://botfrens.com/collections/173/contents/3103960

Train and Bathers (1920) puts leisure beside machinery, depicting modern life as two tempos in one frame. These etchings honed Hopper's ability to carve dramatic light/shadow, bridging his Paris influences with the geometric clarity of his mature oils.

Oaks at Eastham - 1936 https://botfrens.com/collections/173/contents/3104295

Road in Maine - 1914 https://botfrens.com/collections/173/contents/3104064

Trees in the Asylum Garden - 1889 https://botfrens.com/collections/46/contents/14691

Apartment Houses, East River - 1930 https://botfrens.com/collections/173/contents/3104368

The Dories, Ogunquit - 1914 https://botfrens.com/collections/173/contents/3105212