| New York Movie | |
|---|---|
 | |
| Artist | Edward Hopper |
| Year | 1939 |
| Medium | Oil on canvas |
| Dimensions | 32.25 in × 40.125 in (81.92 cm × 101.92 cm) |
| Location | Museum of Modern Art,New York City |
| Accession | 396.1941 |
New York Movie is a 1939 oil-on-canvas painting by American artistEdward Hopper. Begun in December 1938 and completed in January 1939,[1] it depicts a nearly empty movie theater with a few patrons and a contemplative usherette. Known for its sophisticated depiction of multiple light sources,New York Movie is regarded as one of Hopper's most accomplished works.
New York Movie is a composite painting, combining elements from multiple sources.Josephine Hopper, Edward's wife and an accomplished painter in her own right before their marriage, served as a model for the usherette, posing under a lamp in the hallway of their apartment. Unlike many artists of his time, Hopper did not paint women with obvious sexual appeal. Instead, he sought to portray them with honesty to both their external appearance and internal experience.[2]
Some scholars suggest thatNew York Movie functions as a counterpart toÉdouard Manet's 1882 paintingA Bar at the Folies-Bergère, with the usherette as a modern version of the barmaid, both women appearing introspective and emotionally detached from their surroundings.[3]
While the theater in the painting is Hopper's invention, he drew inspiration from several real New York City venues, including thePalace, theGlobe, theRepublic, and theStrand.[4] He made over fifty preparatory sketches of these theaters before beginning the painting.[5]
Hopper was fascinated by film and reportedly spent full days at the theater when experiencing creative blocks.[6] Despite that connection, the painting emphasizes solitude and introspection, even though theaters of the era could hold thousands.
Some critics argue that the usherette's disconnection from the film evokes sympathy from viewers,[7] while others suggest she is absorbed in thought only because she is separated from the movie itself, a possible critique of film audiences at the time.[8] Still others interpret the painting, along with Hopper's broader work, as an acknowledgment of the warmth and quiet persistence of the human spirit amid the alienation of modern urban life.[9]
Hopper also drew compositional and lighting inspiration fromEdgar Degas, especially his paintingInterior, which similarly conveys nocturnal atmosphere and psychological complexity.[10]
The specific film being shown inNew York Movie is not definitively known. However, Hopper's wife and fellow painter,Josephine Hopper, noted in her records that the image on the screen depicted "fragments of snow-covered mountains."[6]
Art historian Teresa A. Carbone has suggested that the 1937 filmLost Horizon is the most likely candidate, as it prominently features imagery of snow-capped Himalayas, consistent with Josephine Hopper's description.[11]
New York Movie has been exhibited at both theMuseum of Modern Art and theWhitney Museum of American Art as part of major Edward Hopper retrospectives curated by art historian Gail Levin.[12]
The painting was included in the traveling exhibitionEdward Hopper: The Art and the Artist, which originated at the Whitney and later appeared at theHayward Gallery in London, theStedelijk Museum Amsterdam, the Städtische Kunsthalle in Düsseldorf, theArt Institute of Chicago, and theSan Francisco Museum of Modern Art.[10] It has also featured in additional Hopper retrospectives at the Whitney, the Art Institute of Chicago, theDetroit Institute of Arts, and theSaint Louis Art Museum.[13]
The painting is now part of the permanent collection at the Museum of Modern Art, where it is displayed in the Alfred H. Barr, Jr. Galleries. It was acquired through an anonymous donation.[14]
New York Movie has influenced both poetry and film.
In poetry, several writers have drawn from Hopper's depiction of solitude and the reflective mood of the usherette. American poetJoseph Stanton wrote a poem titled "Edward Hopper's New York Movie" in his collectionImaginary Museum: Poems on Art.[15] English poet and professor Gerald Locklin also wrote a poem titled "edward hopper;new york movie, 1939."[16] More recently, poet Jacks DeWitt published "Hopper: New York Movie" inThe American Poetry Review in 2012.[17]
The painting is frequently noted for its dramatic use of lighting and shadows, and it has been cited as an influence on severalfilm noir works,[18] as well as on films that explore themes of female isolation.[19]
DirectorSam Mendes citedNew York Movie as a visual influence for his 2002 filmRoad to Perdition, particularly noting how the partial obscuring of the usherette's face contributes to a sense of loneliness and poetic atmosphere.[20]Quentin Tarantino's 2009 filmInglourious Basterds features a scene in which the character Shosanna stands alone in a theater lobby, her posture and lighting echoing Hopper's composition.[21]
The 1972 filmFat City was also influenced byNew York Movie. Production designerRichard Sylbert drew on Hopper's painting, along withNighthawks, to guide the film's muted color palette and mood.[22]