The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two Comedians
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...
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European Association for American Studies
2021-08-01
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| Series: | European Journal of American Studies |
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| Online Access: | https://journals.openedition.org/ejas/16694 |
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| author | Philip Smith |
| author_facet | Philip Smith |
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| description | 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. |
| format | Article |
| id | doaj-art-d629ff5739084490894393c9f51a8e09 |
| institution | Kabale University |
| issn | 1991-9336 |
| language | English |
| publishDate | 2021-08-01 |
| publisher | European Association for American Studies |
| record_format | Article |
| series | European Journal of American Studies |
| spelling | doaj-art-d629ff5739084490894393c9f51a8e092025-01-06T09:08:34ZengEuropean Association for American StudiesEuropean Journal of American Studies1991-93362021-08-0116110.4000/ejas.16694The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two ComediansPhilip SmithThis 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.https://journals.openedition.org/ejas/16694theatreEdward Hoppertwentieth centurypainting |
| spellingShingle | Philip Smith The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two Comedians European Journal of American Studies theatre Edward Hopper twentieth century painting |
| title | The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two Comedians |
| title_full | The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two Comedians |
| title_fullStr | The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two Comedians |
| title_full_unstemmed | The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two Comedians |
| title_short | The Empty Stage in Edward Hopper’s Early Sunday Morning, Girlie Show, and Two Comedians |
| title_sort | empty stage in edward hopper s early sunday morning girlie show and two comedians |
| topic | theatre Edward Hopper twentieth century painting |
| url | https://journals.openedition.org/ejas/16694 |
| work_keys_str_mv | AT philipsmith theemptystageinedwardhoppersearlysundaymorninggirlieshowandtwocomedians AT philipsmith emptystageinedwardhoppersearlysundaymorninggirlieshowandtwocomedians |