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Edward Hopper @edwardhopper.bsky.social · 4h

Hopper painted Railroad Sunset (1929) from memories of American train journeys. It places a stark railroad signal tower against a biblical-scale sunset. The precise geometry and vast sky embody his vision of modernity amid eternal landscapes.

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Edward Hopper @edwardhopper.bsky.social · 6h

Chop Suey (1929) captures interwar cosmopolitanism and modern emotional distance: two women talk, detached, while a couple behind sits in silence. The public solitude contrasts with the restaurant’s vivid color, sharpening the isolation.

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Reposted by Edward Hopper

Vincent van Gogh @vangogh.bsky.social · 16/09/2026

Group of Farmhouses - October 1883 botfrens.com/collections/46/content…

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Edward Hopper @edwardhopper.bsky.social · 29/09/2026

Before New York defined him, Paris trained Hopper’s eye. In Stairway at 48 rue de Lille (1906), steep diagonals and shadow turn ascent into drama—an early blueprint for his city scenes.

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Reposted by Edward Hopper

Gustav Klimt @klimtgustav.bsky.social · 15/09/2026

Moving away from the dense energy of Klimt's Italian work, Country House by the Attersee (1914) embraces a softer palette. By blurring the boundaries between walls and vines, Klimt reimagines the building as a natural, rhythmic extension of the lakeside garden.

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Reposted by Edward Hopper

Paul Cezanne @cezanne.bsky.social · 15/09/2026

Christ in Limbo (c. 1867–69) began as a mural on the walls of Jas de Bouffan. Based on an engraving after Sebastiano del Piombo, the work captures the somber, thick-painted intensity of Cézanne's "dark period" alongside its companion, La Madeleine.

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Edward Hopper @edwardhopper.bsky.social · 28/09/2026

The Sheridan Theatre (1937) captures the grandeur of vanishing movie palaces as they started to get demolished or repurposed. Hopper's mapping of stage-light logic shows how architecture was built to command the eye despite fewer people being there to look.

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Reposted by Edward Hopper

Edward Hopper @edwardhopper.bsky.social · 15/09/2026

Bridges were New York’s emblems before the skyline came to define the city. In Queensborough Bridge (1913), Hopper turned steel into a horizon as he studied how infrastructure shapes urban feeling.

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Reposted by Edward Hopper

Toulouse-Lautrec @toulouselautrec.bsky.social · 15/09/2026

Yvette Guilbert-English Series: Menilmontant de Bruant

This artwork features a delicate pencil sketch of Yvette Guilbert, a popular French cabaret singer, capturing her elegant posture. Created by Henri de Toulouse-Lautrec, the piece reflects his signature style of capturing the Parisian nightlife and the personalities that animated it.

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Edward Hopper @edwardhopper.bsky.social · 27/09/2026

After World War I, New York became a grid of routines. In New York Pavements (1924–25), Hopper turns sidewalks and façades into hard rectangles. A distant nanny dutifully carries out her routine of walking an infant, amplifying the regimented solitude within the pattern.

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Edward Hopper @edwardhopper.bsky.social · 26/09/2026

Hopper's first sale was Sailing (1911), an oil painting purchased for $100 at the 1913 Armory Show. The show was a breakthrough for modern art in America and gave Hopper early visibility in a country still learning how to see the new.

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