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As Edward Hopper matured he left more and more visual detail out of his paintings and focused on the psychological reality of his subjects. In A Woman in the Sun, a nude female stands in a shaft of raking light from a nearby window. The room has been reduced to its simplest architectural components. The few judicious details that remain—a pair of black pumps, the turned wood bedposts, and the vaguely delineated painting on the wall—only accentuate the barrenness of the scene and the figure.

The voyeuristic, almost cinematic setting suggests a narrative, enticing the viewer to imagine the events that may have occurred prior to the scene we now view, and what will happen next. Hopper’s wife, Josephine Nivison Hopper, served as the model for this figure as she did for many of the women who appeared in his paintings. She was seventy-eight at the time of this painting, but Hopper transformed her, like the rest of the scene, according to his own internal vision rather than faithfully adhering to realistic detail.

Woman In The Sun - Edward Hopper

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Woman In The Sun - Edward Hopper Art Print
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Woman In The Sun - Edward Hopper Art Print
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Woman In The Sun - Edward Hopper Canvas Print
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Woman In The Sun - Edward Hopper Canvas Print
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Woman In The Sun - Edward Hopper Canvas Framed Print
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Woman In The Sun - Edward Hopper Canvas Print
Wrapped • 12x8 inches

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Woman In The Sun - Edward Hopper Canvas Print
Wrapped • 18x12 inches

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Woman In The Sun - Edward Hopper Canvas Framed Print
Framed • 18x12 inches

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Woman In The Sun - Edward Hopper Framed Print
Framed with Mat • 12x8 inches

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Woman In The Sun - Edward Hopper Framed Print
Framed with Mat • 18x12 inches

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As Edward Hopper matured he left more and more visual detail out of his paintings and focused on the psychological reality of his subjects. In A Woman in the Sun, a nude female stands in a shaft of raking light from a nearby window. The room has been reduced to its simplest architectural components. The few judicious details that remain—a pair of black pumps, the turned wood bedposts, and the vaguely delineated painting on the wall—only accentuate the barrenness of the scene and the figure. The voyeuristic, almost cinematic setting suggests a narrative, enticing the viewer to imagine the events that may have occurred prior to the scene we now view, and what will happen next. Hopper’s wife, Josephine Nivison Hopper, served as the model for this figure as she did for many of the women who appeared in his paintings. She was seventy-eight at the time of this painting, but Hopper transformed her, like the rest of the scene, according to his own internal vision rather than faithfully adhering to realistic detail.

Edward Hopper is widely acknowledged as the most important realist painter of twentieth-century America. Hopper derived his subject matter from two primary sources: one, the common features of American life (gas stations, motels, restaurants, theatres, railroads, and street scenes) and its inhabitants; and two, seascapes and rural landscapes.   No one captured the isolation of the individual within the modern city like Edward Hopper. His imagery of figures within urban settings go well beyond their role as modern cityscapes, exposing the underbelly of the human experience. His work demonstrates that realism is not merely a literal or photographic copying of what we see, but an interpretive rendering.

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