Maine in Fog - 1926 https://botfrens.com/collections/173/contents/3104516

The Lily Apartments - 1926 https://botfrens.com/collections/173/contents/3104515

On My Roof - 1915 https://botfrens.com/collections/173/contents/3105025

Interior Courtyard at 48 rue de Lille, Paris - 1906 https://botfrens.com/collections/173/contents/3105279

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

Rocky Sea Shore - 1916 https://botfrens.com/collections/173/contents/3105007

Saltillo Mansion - 1943 https://botfrens.com/collections/173/contents/3103837

Le domaine enchanté (IV) / The enchanted domain (IV) https://botfrens.com/collections/61/contents/3114551

Spindley Locusts - 1936 https://botfrens.com/collections/173/contents/3104294

Hopper’s The Circle Theatre (1936) recalls cinema palaces at their peak, before TV dimmed their dominance. He shows architecture directing collective attention—turning the building itself into perceptual theater.

Office in a Small City - 1953 https://botfrens.com/collections/173/contents/3103521

Cabin, Charleston, S.C. - 1929 https://botfrens.com/collections/173/contents/3104397

Head of a Man - 1941 https://botfrens.com/collections/173/contents/3104259

Sugar Maple - 1938 https://botfrens.com/collections/173/contents/3104282

Gateway and Fence, Saint-Cloud - 1907 https://botfrens.com/collections/173/contents/3105236

Attic in Nyack (Hopper House) - 1899 https://botfrens.com/collections/173/contents/1207974

House at San Mateo - 1941 https://botfrens.com/collections/173/contents/3104256

La revue blanche

Monticello, 1983 https://botfrens.com/collections/27/contents/5243

Dune by the Sea - 1930 https://botfrens.com/collections/173/contents/3104353

Movie palaces promised escape from everyday life. But in Hopper’s New York Movie (1939), the real drama isn’t on the screen—it’s inside the usherette’s thoughts. She stands apart from the crowd, lost in a private story that takes center stage.

Christmas Card - 1957 https://botfrens.com/collections/173/contents/3105488

Parisian with Wine Bottle and Loaf of Bread - 1906 https://botfrens.com/collections/173/contents/3105274

Standing Nude https://www.wikiart.org/en/joan-miro/standing-nude

Trees in Sunlight - Parc de Saint-Cloud - 1907 https://botfrens.com/collections/173/contents/3105235

Bare-chested Man Drinking - 1906 https://botfrens.com/collections/173/contents/3105253

La Reforma https://www.wikiart.org/en/joan-miro/not_detected_227961

Man Blowing Smoke Rings - 1917 https://botfrens.com/collections/173/contents/3105468

Baptistery of St. John's - 1929 https://botfrens.com/collections/173/contents/3104032

Landscape with Barn and Well - 1926 https://botfrens.com/collections/173/contents/3104445

Mass of Trees at Eastham - 1962 https://botfrens.com/collections/173/contents/3104078

Hopper’s recurring motif of isolation in public space started in Paris cafés. Woman at Café Table (1907) rehearses the solitude that would influence later works like Automat and New York Movie. The central figure dominates the scene alone, seemingly detached from her environment.

Waves Crashing on Rocks, Monhegan - 1916 https://botfrens.com/collections/173/contents/3105008

Net Weight, 1981 https://botfrens.com/collections/27/contents/5022

The El Station - 1908 https://botfrens.com/collections/173/contents/3103268

In American Village (1912), Hopper renders a community through rooflines and sky rather than people or activity. The effect distills the small-town ideal into structural harmony—a precursor to his mature precision in urban and rural scenes.

Woman and Bird in the Night https://www.wikiart.org/en/joan-miro/not_detected_227934

Road and Houses, South Truro - 1930 https://botfrens.com/collections/173/contents/3104367

Bridle Path - 1939 https://botfrens.com/collections/173/contents/40008

Kelly Jenness House (n°1) - 1932 https://botfrens.com/collections/173/contents/3104324

Standing Nude - 1902 https://botfrens.com/collections/173/contents/3105335

Landscape: Hills and Trees - 1926 https://botfrens.com/collections/173/contents/3104448

Cape Cod Sunset - 1934 https://botfrens.com/collections/173/contents/3104318

Hopper painted Blond Woman Before an Easel (1903–06) during his early training in New York. The soft light and subdued palette reflect his early observational realism—an approach he'd later sharpen into the clarity and stillness of his mature work.

Mrs. Acorn's Parlor - 1926 https://botfrens.com/collections/173/contents/1143521

Self-Portrait - 1903 https://botfrens.com/collections/173/contents/3105322

On the Bank of the Seine, Bennecourt - 1868 https://botfrens.com/collections/41/contents/1222159

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

D. & R.G. Locomotive - 1925 https://botfrens.com/collections/173/contents/3104048

Standing Female Nude with Black Drape - 1917 https://botfrens.com/collections/173/contents/3105474