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Excursion into Philosophy is drawn as it is from a highly personal, yet surprisingly uncanny, space of a bedroom. Painted with strong use of geometric shadow, it casts a solemn figure half in—and out—of light. Excursion into Philosophy was painted in the latter period of Hopper's success, being completed in 1959. At the time, Hopper proclaimed this work his potential best and it sustains more mature themes of sexual and psychological tension than many of his pieces. In Excursion, a man sits on a bed, with a woman resting behind him—naked from the waist down—with her back towards him. The disruption of the intimate moment by this physical lack of contact is heightened by the brooding face of the male subject and his open, discarded book. The book has since been identified as Plato.

Excursion Into Philosophy - Edward Hopper

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Excursion Into Philosophy - Edward Hopper Art Print
Rolled • 12x9 inches

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Excursion Into Philosophy - Edward Hopper Canvas Print
Rolled • 12x9 inches

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Excursion Into Philosophy - Edward Hopper Canvas Print
Wrapped • 12x9 inches

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Excursion Into Philosophy - Edward Hopper Canvas Framed Print
Framed • 12x9 inches

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Excursion into Philosophy is drawn as it is from a highly personal, yet surprisingly uncanny, space of a bedroom. Painted with strong use of geometric shadow, it casts a solemn figure half in—and out—of light. Excursion into Philosophy was painted in the latter period of Hopper's success, being completed in 1959. At the time, Hopper proclaimed this work his potential best and it sustains more mature themes of sexual and psychological tension than many of his pieces. In Excursion, a man sits on a bed, with a woman resting behind him—naked from the waist down—with her back towards him. The disruption of the intimate moment by this physical lack of contact is heightened by the brooding face of the male subject and his open, discarded book. The book has since been identified as Plato.

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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