Two Comedians by Edward Hopper

Two Comedians 1965

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edwardhopper

Private Collection

painting, oil-paint

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portrait

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painting

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oil-paint

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figuration

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oil painting

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portrait art

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modernism

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realism

Dimensions: 73.7 x 101.6 cm

Copyright: Edward Hopper,Fair Use

Curator: Edward Hopper's "Two Comedians," completed in 1965 using oil paint, depicts a man and a woman in white Pierrot costumes, holding hands on a stage. Editor: Striking. There's an undeniable melancholy that washes over you, despite the supposed cheerfulness associated with comedic figures. The stark lighting only intensifies that feeling of alienation. Curator: Hopper’s use of oil paint here lends a distinct texture, the layers building up a subtle grittiness on the canvas that almost makes you want to reach out and feel the fabric of their costumes. It seems significant that these clowns, typically associated with exaggerated performance, are rendered with a palpable materiality. Editor: Precisely, and notice how the figures' costuming, particularly in contrast with the vast darkness of the stage's background, renders them as strikingly isolated? Consider this piece within Hopper’s larger body of work and how he so consistently represents figures within the framework of loneliness. It almost becomes a commentary on the performative aspects of gender, particularly femininity, under the gaze of a mostly male dominated art world. Curator: I'm struck by the simplicity of the color palette— the stark white of the costumes set against the deep blues and greens of the backdrop. Hopper's technique emphasizes form and light, almost simplifying the narrative down to its barest structural elements. Editor: True. This minimalist style then begs us to investigate the social contexts in which the ‘comedian’ exists – someone whose work, whose very identity, is based around generating emotional response from another person. This feels much heavier than mere observation. It highlights, through almost painfully careful detail, an intrinsic alienation within a performative role. Curator: Perhaps, Hopper is reminding us of the labor, both physical and emotional, involved in creating illusions, the making of art. Editor: An apt reminder. Seeing the performance not just for its artifice, but its potential exploitation. A complex read for a seemingly simple composition.

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