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The Lighthouse at Two Lights Hopper isolated the dramatic silhouette of the 120-foot-high lighthouse tower and adjoining Coast Guard station against the open expanse of blue sky. Set on a rocky promontory in Cape Elizabeth, Maine - though no water is visible in the painting, the architecture is bathed in bright sunlight offset by dark shadows. Since 1914 Hopper had regularly summered in Maine, and this picture is one of three oils and several watercolors that he did of this site during summer 1929. To Hopper, the lighthouse at Two Lights symbolized the solitary individual stoically facing the onslaught of change in an industrial society. The integrity and clarity of his work made Hopper a quiet force in American art for forty years and one of America's most popular artists.

Edward Hopper - The Lighthouse At Two Lights

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Edward Hopper - The Lighthouse At Two Lights Poster
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Edward Hopper - The Lighthouse At Two Lights Poster
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Edward Hopper - The Lighthouse At Two Lights Art Print
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Edward Hopper - The Lighthouse At Two Lights Art Print
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Edward Hopper - The Lighthouse At Two Lights Art Print
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Edward Hopper - The Lighthouse At Two Lights Art Print
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Edward Hopper - The Lighthouse At Two Lights Canvas Print
Rolled • 12x9 inches

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Edward Hopper - The Lighthouse At Two Lights Canvas Print
Rolled • 18x13 inches

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Edward Hopper - The Lighthouse At Two Lights Canvas Framed Print
Framed • 12x9 inches

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Edward Hopper - The Lighthouse At Two Lights Canvas Print
Wrapped • 12x9 inches

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Edward Hopper - The Lighthouse At Two Lights Canvas Print
Rolled • 24x17 inches

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Edward Hopper - The Lighthouse At Two Lights Canvas Print
Wrapped • 18x13 inches

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Edward Hopper - The Lighthouse At Two Lights Canvas Framed Print
Framed • 18x13 inches

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Edward Hopper - The Lighthouse At Two Lights Canvas Print
Rolled • 30x21 inches

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Edward Hopper - The Lighthouse At Two Lights Canvas Print
Wrapped • 24x17 inches

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Edward Hopper - The Lighthouse At Two Lights Canvas Framed Print
Framed • 24x17 inches

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Edward Hopper - The Lighthouse At Two Lights Canvas Print
Wrapped • 30x21 inches

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Edward Hopper - The Lighthouse At Two Lights Canvas Framed Print
Framed • 30x21 inches

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Edward Hopper - The Lighthouse At Two Lights Framed Print
Framed with Mat • 12x9 inches

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Edward Hopper - The Lighthouse At Two Lights Framed Print
Framed with Mat • 18x13 inches

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Edward Hopper - The Lighthouse At Two Lights Framed Print
Framed with Mat • 24x17 inches

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Edward Hopper - The Lighthouse At Two Lights Framed Print
Framed with Mat • 30x21 inches

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Edward Hopper - The Lighthouse At Two Lights Poster
Rolled • Life Size 24X33 inches

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Edward Hopper - The Lighthouse At Two Lights Poster
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Edward Hopper - The Lighthouse At Two Lights Large Canvas Print
Rolled • 36x25 inches

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Edward Hopper - The Lighthouse At Two Lights Large Canvas Print
Wrapped • 36x25 inches

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Edward Hopper - The Lighthouse At Two Lights Large Framed Print
Framed With Mat • 36x25 inches

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The Lighthouse at Two Lights Hopper isolated the dramatic silhouette of the 120-foot-high lighthouse tower and adjoining Coast Guard station against the open expanse of blue sky. Set on a rocky promontory in Cape Elizabeth, Maine - though no water is visible in the painting, the architecture is bathed in bright sunlight offset by dark shadows. Since 1914 Hopper had regularly summered in Maine, and this picture is one of three oils and several watercolors that he did of this site during summer 1929. To Hopper, the lighthouse at Two Lights symbolized the solitary individual stoically facing the onslaught of change in an industrial society. The integrity and clarity of his work made Hopper a quiet force in American art for forty years and one of America's most popular artists.

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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