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Hotel Lobby is a signature piece in Hopper's work, displaying his classic themes of alienation and brevity. The Hoppers traveled frequently, staying in many motels and hotels throughout his career. This is one of two works in his catalog that depicts a hotel, the other being Hotel Window (1955). It is also one of the two paintings that he created in 1952, both of which dealt with alienated couples. The older couple are believed to represent Hopper and his wife, themselves in their 60s.

Edward Hopper- Hotel Lobby

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Edward Hopper- Hotel Lobby Poster
Rolled • 17x12 inches
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Edward Hopper- Hotel Lobby Poster
Framed • 17x12 inches
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Edward Hopper- Hotel Lobby Art Print
Rolled • 12x10 inches
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Edward Hopper- Hotel Lobby Art Print
Rolled • 18x14 inches
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Edward Hopper- Hotel Lobby Canvas Print
Rolled • 12x10 inches
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Edward Hopper- Hotel Lobby Canvas Print
Rolled • 18x14 inches
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Small Size

Edward Hopper- Hotel Lobby Canvas Framed Print
Framed • 12x10 inches
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Edward Hopper- Hotel Lobby Canvas Print
Wrapped • 12x10 inches
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Edward Hopper- Hotel Lobby Canvas Print
Wrapped • 18x14 inches
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Edward Hopper- Hotel Lobby Canvas Framed Print
Framed • 18x14 inches
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Edward Hopper- Hotel Lobby Framed Print
Framed with Mat • 12x10 inches
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Edward Hopper- Hotel Lobby Framed Print
Framed with Mat • 18x14 inches
Compact Size

Compact Size

Edward Hopper- Hotel Lobby
Compact Size

Compact Size

Edward Hopper- Hotel Lobby

Hotel Lobby is a signature piece in Hopper's work, displaying his classic themes of alienation and brevity. The Hoppers traveled frequently, staying in many motels and hotels throughout his career. This is one of two works in his catalog that depicts a hotel, the other being Hotel Window (1955). It is also one of the two paintings that he created in 1952, both of which dealt with alienated couples. The older couple are believed to represent Hopper and his wife, themselves in their 60s.

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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