Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Office in a Small City - Edward Hopper
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Description
Edward Hopper's 'Office in a Small City' (1953) captures the quiet solitude of modern urban life. The painting features an office worker seen through a window, with stark light and simplified architectural forms.
Edward Hopper's 1953 painting, Office in a Small City, presents a solitary office worker viewed through a large window. The man, seen in profile, sits at a desk, his posture suggesting a mixture of contemplation and weariness. The composition is divided into distinct planes: the stark white frame of the window, the office interior with its wooden desk and the figure, and the cityscape beyond. The buildings are rendered in simplified forms, with flat roofs and minimal detail, contributing to the painting's sense of isolation and urban alienation. Hopper's use of light and shadow is particularly striking. The bright, almost clinical light illuminates the office space, casting sharp shadows that accentuate the geometric shapes of the architecture. This interplay of light and shadow creates a sense of depth and adds to the overall mood of quiet introspection. The colour palette is restrained, dominated by whites, blues, and browns, which further enhances the painting's atmosphere of solitude and detachment. Hopper's work often explores themes of loneliness and the alienation of modern life, and this painting is a prime example of his ability to capture these emotions with remarkable subtlety and precision. The painting is currently part of the collection of The Metropolitan Museum of Art, New York.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Complete The Look
Office in a Small City - Edward Hopper
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Edward Hopper
Hopper liked walking around New York at night, looking into lit windows. Room in New York, one of his best paintings, came from doing exactly that: glimpsing a couple in an apartment, not speaking to each other, the woman touching a piano key with one finger. He painted what he saw from the outside.
He grew up in Nyack, a small town on the Hudson River, studied illustration, then moved to Robert Henri's painting class at the New York School of Art. Henri was the central figure of the Ashcan School, which painted American life without prettifying it. Hopper absorbed the directness but not the social energy. His paintings got quieter, more still, more concerned with what people look like when they think nobody is watching.
He went to Paris three times between 1906 and 1910 and came back with Degas and Manet in his head: cropped compositions, angled light, figures caught mid-thought. Then he spent a decade failing commercially, working as an illustrator to pay the bills, and painting watercolours that nobody bought. Success came late. His first solo show was at forty-one.
In 1924 he married Josephine Nivison, a painter who had also studied under Henri. She modelled for nearly every female figure in his paintings, managed his career, and kept detailed records of every work he produced. The marriage was difficult. Both of them had sharp tempers. She engineered his public image as a recluse, which he was, mostly.
Nighthawks, the diner painting, was made in 1942. Jo named it. Hopper admitted he was probably painting the loneliness of a large city, though he was reluctant to say so directly. The diner has no visible door. People have pointed this out for eighty years and nobody has determined whether it was intentional.
He grew up in Nyack, a small town on the Hudson River, studied illustration, then moved to Robert Henri's painting class at the New York School of Art. Henri was the central figure of the Ashcan School, which painted American life without prettifying it. Hopper absorbed the directness but not the social energy. His paintings got quieter, more still, more concerned with what people look like when they think nobody is watching.
He went to Paris three times between 1906 and 1910 and came back with Degas and Manet in his head: cropped compositions, angled light, figures caught mid-thought. Then he spent a decade failing commercially, working as an illustrator to pay the bills, and painting watercolours that nobody bought. Success came late. His first solo show was at forty-one.
In 1924 he married Josephine Nivison, a painter who had also studied under Henri. She modelled for nearly every female figure in his paintings, managed his career, and kept detailed records of every work he produced. The marriage was difficult. Both of them had sharp tempers. She engineered his public image as a recluse, which he was, mostly.
Nighthawks, the diner painting, was made in 1942. Jo named it. Hopper admitted he was probably painting the loneliness of a large city, though he was reluctant to say so directly. The diner has no visible door. People have pointed this out for eighty years and nobody has determined whether it was intentional.
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Every Solis piece is made to order with archival, gallery-quality materials built to last.
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- Framed prints arrive ready to hang
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Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
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Fine Art Framed
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The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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Artist Biography
Edward Hopper
Hopper liked walking around New York at night, looking into lit windows. Room in New York, one of his best paintings, came from doing exactly that: glimpsing a couple in an apartment, not speaking to each other, the woman touching a piano key with one finger. He painted what he saw from the outside.
He grew up in Nyack, a small town on the Hudson River, studied illustration, then moved to Robert Henri's painting class at the New York School of Art. Henri was the central figure of the Ashcan School, which painted American life without prettifying it. Hopper absorbed the directness but not the social energy. His paintings got quieter, more still, more concerned with what people look like when they think nobody is watching.
He went to Paris three times between 1906 and 1910 and came back with Degas and Manet in his head: cropped compositions, angled light, figures caught mid-thought. Then he spent a decade failing commercially, working as an illustrator to pay the bills, and painting watercolours that nobody bought. Success came late. His first solo show was at forty-one.
In 1924 he married Josephine Nivison, a painter who had also studied under Henri. She modelled for nearly every female figure in his paintings, managed his career, and kept detailed records of every work he produced. The marriage was difficult. Both of them had sharp tempers. She engineered his public image as a recluse, which he was, mostly.
Nighthawks, the diner painting, was made in 1942. Jo named it. Hopper admitted he was probably painting the loneliness of a large city, though he was reluctant to say so directly. The diner has no visible door. People have pointed this out for eighty years and nobody has determined whether it was intentional.
He grew up in Nyack, a small town on the Hudson River, studied illustration, then moved to Robert Henri's painting class at the New York School of Art. Henri was the central figure of the Ashcan School, which painted American life without prettifying it. Hopper absorbed the directness but not the social energy. His paintings got quieter, more still, more concerned with what people look like when they think nobody is watching.
He went to Paris three times between 1906 and 1910 and came back with Degas and Manet in his head: cropped compositions, angled light, figures caught mid-thought. Then he spent a decade failing commercially, working as an illustrator to pay the bills, and painting watercolours that nobody bought. Success came late. His first solo show was at forty-one.
In 1924 he married Josephine Nivison, a painter who had also studied under Henri. She modelled for nearly every female figure in his paintings, managed his career, and kept detailed records of every work he produced. The marriage was difficult. Both of them had sharp tempers. She engineered his public image as a recluse, which he was, mostly.
Nighthawks, the diner painting, was made in 1942. Jo named it. Hopper admitted he was probably painting the loneliness of a large city, though he was reluctant to say so directly. The diner has no visible door. People have pointed this out for eighty years and nobody has determined whether it was intentional.
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