Buy Edward Hopper’s hand painted reproductions of superb craftsmanship, that mimic every detail of the master’s work. Choose from dozens of canvas.
The peculiarity of doing an Edward Hopper reproduction, compared to some artists, is that it is not difficult to reproduce.
The lines are simple and clean, there are few or no characters - often only one character, if there is any - and even then, the faces and poses are basic. No quirky or unexpected shapes as in Picasso or Magritte, no trompe l'oeil like Gonsalves or Dali, a simple painting that goes straight to the point.
That does not mean easy, and we must respect the light effects in their colors and intensity to recreate the perfect atmosphere Edward Hopper wanted to achieve.
Purchasing your reproductions of Hopper's paintings at our workshop is the best decision you've made today: invite the artist into your home!
I do not quite agree with critics who says Hopper's paintings are about loneliness in the city or society. Hopper has denied it: in an interview about Nighthawks he denies ever having voluntarily infused symbols of human isolation or urban emptiness into his canvases, but he acknowledges that in Nighthawks he has "perhaps unknowingly paints loneliness in a big city".
Hopper created paintings that evoke serenity; he may have been a little Buddhist in that sense. To buy a reproduction of Hopper's paintings is to introduce a little of this serenity at your home.
What a pleasure to have on the wall a work that brings you a feeling of peace just by looking at it. A table about which one can extrapolate, and fill it with what could be ... because it is the great strength of Hopper’s paintings: they encourage the calm, daydreaming, while being subjective and pushing us to fill the canvas with what is not there.
There are works that describe and make sense, those of Hopper only have the meaning that we bring to it. This is why the master never tried to explain them; how could he have showed us a direction? It meant for him as much as for the viewer, but in a different way.
So I go back to what I said at the beginning: they describe the loneliness in the big cities, or the serenity, or something else according to the viewer; and in that regard, no one is right or wrong, since they only have as much sense as we put into them.
One of my professors of Aesthetics at the university (the part of philosophy interested in reasoning on the beautiful), whose name I don’t remember, told us that art has this particularity that we always discover something new in it.
I had to see the works of Edward Hopper to understand, many years later, what he meant by that.
Maybe that's why he remains my favorite artist.
No one has ever captured the individual's isolation in a modern city like Edward Hopper did. His imagery made up of characters in their urban settings goes far beyond their modern landscape roles, exposing the underlying parts of the human experience.
And although his works enter the category of Realism, they offer an evocative look at life during the inter-war period. In fact, by depicting a minimum of action, taking away almost any sign of life or mobility, and adding a dramatic representation with striking lighting effects in closed places, Hopper suggests something significant compared to the introspective state of his subjects, thus paving the way for Abstract Expressionism.
He injects meaning, and all the weight that lay on individuals shoulders and existence, whether in a modern city or in the countryside, in paintings that would be, otherwise, only some reproductions of modern life scenes.
Born in 1882, Edward Hopper trained as an illustrator and devoted much of his early career to advertising and etchings. Influenced by the Ashcan School and taking up residence in New York City, Hopper began to paint the commonplaces of urban life with still, anonymous figures, and compositions that evoke a sense of loneliness. His famous works include House by the Railroad (1925), Automat (1927) and the iconic Nighthawks (1942). Hopper died in 1967.
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