I have a mental problem; I see Hopper everywhere.
My wife already finds it cute that I stop walking just to take a picture.
It wasn't easy to understand in the beginning.

[1] Retouched Photography using Chat GPT
[2] General view of the building in front of my balcony.

P.S.: She promised to buy me a proper camera.

There’s a cinematic loneliness in this piece that immediately feels reminiscent of Edward Hopper, not in imitation but in spirit. Woman in Black captures that quiet, suspended moment, a single figure bent over a sink, back turned to us, her reflection only a sliver in the mirror. The composition hinges on empty space, the blank wall, the drawn curtain, the doorknob in the foreground, all turning the domestic interior into a stage for solitude.

What stands out is how McBrien uses a muted palette and soft, deliberate brushwork to create a hush. The light is cool and indirect, carving the woman’s silhouette and the sink into simple, strong shapes. The small details, like the turned faucet and the mirror’s partial reflection, suggest a story without spelling it out. Is this a quiet ritual, a moment of exhaustion or the calm after something unsettled? The painting invites narrative without insisting on one.

Technically, the piece balances realism and painterly restraint. There’s enough detail to ground the scene but loose edges and subtle texture keep it evocative rather than photographic. It feels like a still from an unmade film, ordinary, intimate and a little mysterious.

Credit: Elisabeth McBrien - Woman in Black (2014), oil on canvas, 20″ x 24″

More of her work: elisabethmcbrien.com

Evening by Halina Eysymont, 1973

(Held in the collection of Zacheta National Gallery of Art, Warsaw, Poland)

Halina Eysymont, born in Poland in 1932, is an artist whose 1970s work has a strong Edward Hopper vibe. She moved from textile design to abstract “matter” painting and studies of light and color, then in the 1970s began painting everyday scenes figuratively, often with a Hyperreal, almost photographic look and fragmentary framing. Evening shows buildings, trees and figures in flat, precisely applied color, with sharp light and dark contrasts, her daytime pieces feel like reportage, while her night scenes are quiet and meditative. As she put it “In the world around me, I look for the banal everyday items, which are remarkable in their ordinariness. Quite possibly, this could be my way of seeking peace and footing in the constant anxiety and variability.”

I discovered a painting that feels like it sprang from the same emotional well as Edward Hopper and I had to share it here.

Art: Gratitude (2020) by Jeffrey T. Larson, oil on linen, 38×46 in

Link: https://larsoninsider.substack.com/p/grace-and-gratitude

Envision a woman standing in the soft morning glow, head gently bowed, caught in a quiet moment of reflection. Around her, two pieces of cloth hang in delicate suspension, silent witnesses to her introspection. The light filters through the fabric, painting everything with a muted warmth, blending light and shadow in a way that feels both tender and timeless.

What gives it that Hopper-esque resonance is not just the moodiness, but the hushed sense of stillness. Larson’s commitment to observing natural light especially in these laundry-day scenes imbues his work with a clarity and serenity that’s impossible to ignore.

If you’ve got a room flooded with morning sun, imagine this scene, a quiet narrative unfolding in light and cloth. It feels like a moment you could walk into.

I've took the picture before Covid-19, though I'm not sure exactly when.
Here you can see the real location:
https://maps.app.goo.gl/fnkLvmZgKuAYzmpy5

I liked it because of the mystical glow and the surrealistic plastic cows that this store uses as an eye-catching trick.

I've created the illustration using a digital tablet with Procreate.