Compact Size
Edward Hopper - Sheridan Theater Framed Print
Framed with Mat •
18x12 inches
Like other artists of his era, Edward Hopper was a great observer of modern life. But while his contemporaries painted bustling dance halls and frenetic burlesque theaters, Hopper chose instead to paint an empty movie theater.
Hopper was an inveterate moviegoer and spent a lot of his time watching movies so that he was familiar with movie houses in New York. And many of his pictures depict individuals in the seats of movie houses or, in this case, lookingover a banister of a movie house.
The Sheridan Theater was one that was very near his house. It was one of the huge movie houses in New York at that moment. 2,000 people could-could fit into the Sheridan Theater. |
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Edward Hopper - Sheridan Theater Framed Print
Framed with Mat •
18x12 inches
Like other artists of his era, Edward Hopper was a great observer of modern life. But while his contemporaries painted bustling dance halls and frenetic burlesque theaters, Hopper chose instead to paint an empty movie theater. Hopper was an inveterate moviegoer and spent a lot of his time watching movies so that he was familiar with movie houses in New York. And many of his pictures depict individuals in the seats of movie houses or, in this case, lookingover a banister of a movie house. The Sheridan Theater was one that was very near his house. It was one of the huge movie houses in New York at that moment. 2,000 people could-could fit into the Sheridan Theater.
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.