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New York Movie is an oil on canvas painting by American painter Edward Hopper.The painting was begun in December 1938 and finished in January of 1939. [1] Measuring 32 1/4 x 40 1/8", New York Movie depicts a nearly empty movie theater occupied with a few scattered moviegoers and a pensive usherette lost in her thoughts.
The Circle Theater: Oil on canvas: 1936: Private collection: Jo Painting: Oil on canvas: 1936: Whitney Museum of American Art: 46.2 cm × 41.1 cm (18 3/16 in. × 16 3/16 in.) Cape Cod Afternoon: 1936: Museum of Art, Carnegie Institute: The Sheridan Theater: Oil on canvas: 1937: Newark Museum: White River at Sharon: Watercolor and pencil on ...
Jo's watercolor Movie Theater—Gloucester (c. 1926–27) foreshadowed Edward's interest in depicting movie theaters: he produced a drypoint of the subject in 1928, and then returned to it occasionally, most famously in the oil painting New York Movie. [25] Beginning in the mid-1920s Jo became her husband's only model.
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Intermission is a 1963 painting by American realist Edward Hopper (1882–1967). It is a late period painting completed between March and April at his home and studio in Washington Square Park, in the Greenwich Village neighborhood of Lower Manhattan, New York City, four years before his death at age 84.
Second Story Sunlight is a 1960 oil painting by the American artist Edward Hopper. It depicts two women of different ages on the second-story balcony of a white house. The older woman reads a newspaper while the younger woman sits on the railing. It is in the collections of the Whitney Museum of American Art, in New York. [1]
Soon after, Hopper began working on First Row Orchestra, a painting based on a visit to a New York theater, in January of 1951. [2] By late spring, from March to May, both Hopper and his wife Josephine Hopper (Jo) were not working on any new paintings, so they packed up their automobile and drove from Manhattan to Saltillo , the capital of the ...
Art historian Pamela Koob points out that the "solitary figures in Hopper’s paintings may well be evocations of such contented solitude rather than the loneliness so often cited." [9] The evidence for contentedness comes from Hopper’s own notion that a work of art is an expression of the creator’s "inner life". According to his wife Jo ...