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At age eighty-three Hopper painted Two Comedians, which he intended as a personal statement, a farewell of sorts. As Jo later confirmed, the painting represented the two of them gracefully bowing out. Both were in their eighties and had been ill; Hopper would die less than two years later and Jo the following year. In contrast to his repeated depictions of noncommunicative couples, as in Room in New York and Cape Cod Evening, here the tall male comedian, representing Hopper, takes the hand of the diminutive comedian, representing Jo. They are like the young lovers Pierrot and Pierrette from the commedia dell'arte. In death, it appears, Hopper preferred company, wanting Jo by his side. She described Two Comedians as "a dark stage (and what a stage, strong as the deck of a ship) and two small figures out of a pantomime." By his choice of theme, Hopper suggested his acceptance of life's ironies - his realization of the folly of human existence.

Two Comedians

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Two Comedians Canvas Print
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Two Comedians Canvas Framed Print
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Two Comedians Canvas Print
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Two Comedians Canvas Print
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Two Comedians Canvas Print
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Two Comedians Canvas Print
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Two Comedians Canvas Print
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Two Comedians Canvas Framed Print
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Two Comedians Canvas Print
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Two Comedians Canvas Framed Print
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Two Comedians Canvas Print
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Two Comedians Canvas Framed Print
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Two Comedians Framed Print
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Two Comedians Framed Print
Framed with Mat • 18x13 inches

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Two Comedians Framed Print
Framed with Mat • 24x18 inches

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Two Comedians Framed Print
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Two Comedians Poster
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Two Comedians Large Canvas Print
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Two Comedians Large Canvas Print
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Two Comedians Large Canvas Print
Rolled • 66x48 inches

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Two Comedians Large Framed Print
Framed With Mat • 36x27 inches

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Two Comedians Large Canvas Print
Wrapped • 49x36 inches

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Two Comedians Large Framed Print
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Two Comedians Large Canvas Print
Wrapped • 57x42 inches

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Two Comedians Large Framed Print
Framed With Mat • 66x48 inches

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At age eighty-three Hopper painted Two Comedians, which he intended as a personal statement, a farewell of sorts. As Jo later confirmed, the painting represented the two of them gracefully bowing out. Both were in their eighties and had been ill; Hopper would die less than two years later and Jo the following year. In contrast to his repeated depictions of noncommunicative couples, as in Room in New York and Cape Cod Evening, here the tall male comedian, representing Hopper, takes the hand of the diminutive comedian, representing Jo. They are like the young lovers Pierrot and Pierrette from the commedia dell'arte. In death, it appears, Hopper preferred company, wanting Jo by his side. She described Two Comedians as "a dark stage (and what a stage, strong as the deck of a ship) and two small figures out of a pantomime." By his choice of theme, Hopper suggested his acceptance of life's ironies - his realization of the folly of human existence.

Edward Hopper is widely acknowledged as the most important realist painter of twentieth-century America. Hopper derived his subject matter from two primary sources: one, the common features of American life (gas stations, motels, restaurants, theatres, railroads, and street scenes) and its inhabitants; and two, seascapes and rural landscapes.   No one captured the isolation of the individual within the modern city like Edward Hopper. His imagery of figures within urban settings go well beyond their role as modern cityscapes, exposing the underbelly of the human experience. His work demonstrates that realism is not merely a literal or photographic copying of what we see, but an interpretive rendering.

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