使用被再现的路线，与爱德华•霍珀一起在他的各种公路旅行中旅行，并邂逅这位艺术家眼中的酒店，员工和客人

画家，制图员和插画家爱德华•霍珀（Edward Hopper，1882–1967年）是美国最**，作品被展出次数最多的艺术家之一。旅馆，汽车旅馆和家庭旅舍是他作品中反复出现的主题，街道，灯塔和加油站构成了交通基础设施的视觉词汇。这本引人入胜的书用十篇文章探讨了霍珀对此类空间的终生研究，阐明了他的专业实践以及交通和通讯领域的深远变化。霍珀为商业杂志《酒店管理》（Hotel Management）创作的封面以及其他**作品使读者思考新创办的《新女性》杂志的复杂角色；取消旅馆工作和工人；当代白色与清洁和纯净的联系；霍珀在墨西哥用酒店窗户和屋顶创作的水彩画；以及更广泛的运输历史背景。接着，最后一章介绍了霍珀对酒店在20世纪美国艺术的更广泛发展中所扮演的有趣角色所做的贡献。作为****的特色，这本书的后盖还包含两张类似“ TripTik”的可移动地图，这两张地图追溯了霍珀和他的妻子，艺术家Josephine“ Jo” Nivison Hopper在20世纪40年代和20世纪50年代驾车之旅；来自Jo的日记中的精选信件和语录与明信片和短效物收藏品的复制品结合在一起，表现了他们（以及美国同胞）不断变化的旅行习惯。

Using recreated itineraries, travel along with Edward Hopper on his various road trips and encounter hotels, staff, and guests as seen through the artist's eyes

The painter, draftsman, and illustrator Edward Hopper (1882–1967) is one of America’s best-known and most frequently exhibited artists. Hotels, motels, and tourist homes are recurring motifs in his work, along with streets, lighthouses, and gas stations forming a visual vocabulary of transportation infrastructure. In ten essays, this fascinating volume explores Hopper’s lifelong investigation of such spaces, shedding light on both his professional practice and far-reaching changes in transportation and communications, which affected not only work and leisure but also dynamics of race, class, and gender. Hopper’s covers for the trade journal Hotel Management, in addition to other well-known works, invite reflection on the complicated roles of the nascent New Woman; the erasure of hotel work and workers; contemporary associations of the color white with cleanliness and purity; the watercolors Hopper made from hotel windows and rooftops in Mexico; and the broader context of transportation history. A final chapter then situates Hopper's contribution to the fascinating role that the hotel has played in the broader development of American art in the 20th century. As a unique feature, the book's backflap also holds two "TripTik"-like, removable maps that trace the journeys that Hopper and his wife, the artist Josephine “Jo” Nivison Hopper, took by car in the 1940s and 1950s; selected correspondence and quotations from Jo’s own diaries join reproductions of postcards and ephemera illuminating their—and fellow Americans’—shifting travel habits.