The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two Comedians
Bibliographic Data
| ID | 6187626 |
|---|---|
| Authors | Philip Smith (0000-0001-7781-4350) |
| Year | 2021 |
| Volume | 16 |
| Issue | 1 |
| Publication date | 2021-04-16 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | European Journal of American Studies (JOURNAL) |
| Journal identifiers | ISSN: 1991-9336 • E-ISSN: 1991-9336 |
| Publisher | OpenEdition (PUBLISHER) |
| DOI | 10.4000/ejas.16694 |
| OpenAlex | W3152918393 |
| Language | EN |
| References cited | 13 |
This paper seeks to argue that Edward Hopper’s Early Sunday Morning (1930), Girlie Show (1941), and Two Comedians (1966) all show interest in the ephemerality of stage art. These paintings, I argue, depend upon innovations and fashions in lighting and set design from Hopper’ era. These influences, I further contend, extend beyond the mechanical to the thematic; if these paintings resemble the stage, it is significant that the stages he depicts are vacant of actors or signify either a scene which is about to occur or one which has ended. By evoking the empty stage, Hopper’s work, I seek to demonstrate, invites meditations on the impermanence of stagecraft
Aesthetics · Archaeology · Art · Art history · Buddhism · Impermanence · Literature · Morning · Painting · Sociology · Stage (stratigraphy · Visual arts · Art History and Market Analysis · Art, Politics, and Modernism · Cinema and Media Studies · History
| Highly cited | No |
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