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1942 oil on canvas painting by Edward Hopper

Nighthawks
Nighthawks by Edward Hopper 1942.jpg
Artist Edward Hopper Edit this on Wikidata
Yr 1942
Medium oil paint, canvas
Movement American realism Edit this on Wikidata
Dimensions 84.1 cm (33.1 in) × 152.4 cm (60.0 in)
Location Art Institute of Chicago
Accretion No. 1942.51 Edit this on Wikidata

[edit on Wikidata]

Nighthawks is a 1942 oil on canvas painting past Edward Hopper that portrays four people in a downtown diner late at night as viewed through the diner's large glass window. The light coming from the diner illuminates a darkened and deserted urban streetscape.

Information technology has been described as Hopper'south best-known work[1] and is one of the about recognizable paintings in American art.[2] [iii] Inside months of its completion, it was sold to the Art Institute of Chicago on May 13, 1942, for $three,000.[4]

About the painting [edit]

It has been suggested that Hopper was inspired by a short story of Ernest Hemingway'due south, either "The Killers", which Hopper profoundly admired,[5] or from the more philosophical "A Clean, Well-Lighted Place".[6] In response to a query on loneliness and emptiness in the painting, Hopper outlined that he "didn't see it every bit particularly lonely". He said "unconsciously, probably, I was painting the loneliness of a big city".[7]

Josephine Hopper'south notes on the painting [edit]

Starting soon later on their spousal relationship in 1924, Edward Hopper and his wife Josephine (Jo) kept a journal in which he would, using a pencil, make a sketch-drawing of each of his paintings, along with a precise clarification of certain technical details. Jo Hopper would then add together boosted data about the theme of the painting.

A review of the page on which Nighthawks is entered shows (in Edward Hopper'southward handwriting) that the intended name of the work was actually Nighttime Hawks and that the painting was completed on January 21, 1942.

Jo's handwritten notes about the painting requite considerably more detail, including the possibility that the painting'south championship may have had its origins every bit a reference to the beak-shaped nose of the man at the bar, or that the appearance of one of the "nighthawks" was tweaked in order to relate to the original pregnant of the give-and-take:

Night + brilliant interior of cheap eating place. Bright items: cherry forest counter + tops of surrounding stools; light on metal tanks at rear right; brilliant streak of jade greenish tiles iii/4 beyond canvas--at base of glass of window curving at corner. Light walls, deadening yellow ocre [sic] door into kitchen right. Very good looking blond boy in white (coat, cap) inside counter. Girl in red blouse, brown pilus eating sandwich. Human night hawk (beak) in dark arrange, steel grey hat, blackness band, blue shirt (clean) holding cigarette. Other figure nighttime sinister dorsum--at left. Light side walk exterior pale greenish. Darkish red brick houses opposite. Sign beyond summit of eating house, night--Phillies 5c cigar. Picture of cigar. Outside of shop night, green. Annotation: bit of brilliant ceiling inside store confronting dark of exterior street--at edge of stretch of peak of window.[8]

In January 1942, Jo confirmed her preference for the name. In a letter to Edward's sister Marion she wrote, "Ed has only finished a very fine moving picture--a lunch counter at nighttime with 3 figures. Night Hawks would be a fine name for it. E. posed for the 2 men in a mirror and I for the girl. He was nigh a month and one-half working on it."[9] Opposite to her merits, there are four figures in the painting.

Ownership history [edit]

Invoice showing $i,971 going to the artist after commission and costs

Upon completing the sail in the late winter of 1941–42, Hopper placed it on display at Rehn's, the gallery at which his paintings were normally placed for sale. It remained at that place for well-nigh a month. On St. Patrick's Day, Edward and Jo Hopper attended the opening of an exhibit of the paintings of Henri Rousseau at New York's Museum of Modern Fine art, which had been organized by Daniel Catton Rich, the director of the Art Institute of Chicago. Rich was in attendance, along with Alfred Barr, the director of the Museum of Mod Fine art. Barr spoke enthusiastically of Gas, which Hopper had painted a yr earlier, and "Jo told him he just had to become to Rehn's to run into Nighthawks. In the result information technology was Rich who went, pronounced Nighthawks 'fine equally a [Winslow] Homer', and soon bundled its purchase for Chicago."[10] The auction price was $3,000 (equivalent to $49,750 in 2021).[4]

Location of the restaurant [edit]

The scene was supposedly inspired by a diner (since demolished) in Greenwich Village, Hopper's neighborhood in Manhattan. Hopper himself said the painting "was suggested by a restaurant on Greenwich Avenue where two streets meet". Additionally, he noted that "I simplified the scene a great deal and made the restaurant bigger".[11]

That reference has led Hopper aficionados to appoint in a search for the location of the original diner. The inspiration for the search has been summed upward in the web log of one of these searchers: "I am finding it extremely difficult to let go of the notion that the Nighthawks diner was a existent diner, and not a total blended built of grocery stores, hamburger joints, and bakeries all cobbled together in the painter's imagination".[12]

The spot commonly associated with the former location is a now-vacant lot known equally Mulry Foursquare, at the intersection of 7th Artery South, Greenwich Artery, and West 11th Street, near seven blocks west of Hopper's studio on Washington Square. Nonetheless, according to an article past Jeremiah Moss in The New York Times, that cannot be the location of the diner which inspired the painting, because a gas station occupied that lot from the 1930s to the 1970s.[xiii]

Moss located a land-use map in a 1950s municipal atlas showing that "Former between the late '30s and early on '50s, a new diner appeared about Mulry Foursquare". Specifically, the diner was located immediately to the correct of the gas station, "non in the empty northern lot, merely on the southwest side, where Perry Street slants". That map is non reproduced in the Times article just is shown on Moss'southward blog.[14]

Moss comes to the conclusion that Hopper should be taken at his discussion: the painting was merely "suggested" by a existent-life restaurant, he had "simplified the scene a swell deal", and he "made the restaurant bigger". In short, there probably never was a single real-life scene identical to the one that Hopper had created, and if one did exist, there is no longer sufficient testify to pivot downwardly the precise location. Moss concludes, "the ultimate truth remains bitterly out of reach".[12]

In popular culture [edit]

Roger Brownish's Puerto Rican Wedding (1969). Brown said that the café in the lower left corner of this painting "isn't fix like an imitation of Nighthawks, but still refers to it very much."[fifteen]

Because it is so widely recognized, the diner scene in Nighthawks has served as the model for many homages and parodies.

Painting and sculpture [edit]

Many artists have produced works that allude or answer to Nighthawks.

Hopper influenced the Photorealists of the tardily 1960s and early on 1970s, including Ralph Goings, who evoked Nighthawks in several paintings of diners. Richard Estes painted a corner shop in People's Flowers (1971), only in daylight, with the shop's large window reflecting the street and sky.[16]

More direct visual quotations began to appear in the 1970s. Gottfried Helnwein's painting Boulevard of Broken Dreams (1984) replaces the three patrons with American pop culture icons Humphrey Bogart, Marilyn Monroe, and James Dean, and the attendant with Elvis Presley.[17] According to Hopper scholar Gail Levin, Helnwein continued the bleak mood of Nighthawks with 1950s American cinema and with "the tragic fate of the decade's best-loved celebrities."[xviii] Nighthawks Revisited, a 1980 parody by Red Grooms, clutters the street scene with pedestrians, cats, and trash.[xix] A 2005 Banksy parody shows a fatty, shirtless soccer hooligan in Spousal relationship Flag boxers continuing inebriated exterior the diner, apparently having just smashed the diner window with a nearby chair.[20]

A large mural recreation of Nighthawks was painted on a defunct Chinese eating place in Santa Rosa, California until the edifice was demolished in 2019.[21]

Literature [edit]

Several writers have explored how the customers in Nighthawks came to be in a diner at night, or what will happen next. Wolf Wondratschek's verse form "Nighthawks: Afterward Edward Hopper's Painting" imagines the man and woman sitting together in the diner as an estranged couple: "I bet she wrote him a alphabetic character/ Whatever it said, he's no longer the man / Who'd read her letters twice."[22] Joyce Ballad Oates wrote interior monologues for the figures in the painting in her verse form "Edward Hopper's Nighthawks, 1942".[23] A special result of Der Spiegel included five brief dramatizations that built v different plots around the painting; one, by screenwriter Christoph Schlingensief, turned the scene into a chainsaw massacre. Erik Jendresen and Stuart Dybek also wrote brusk stories inspired past this painting.[24] [25]

Moving-picture show [edit]

Hopper was an avid moviegoer and critics have noted the resemblance of his paintings to flick stills. Nighthawks and works such as Night Shadows (1921) conceptualize the look of flick noir, whose development Hopper may accept influenced.[26] [27]

Hopper was an best-selling influence on the film musical Pennies from Sky (1981), for which production designer Ken Adam recreated Nighthawks as a fix.[28] Director Wim Wenders recreated Nighthawks every bit the set for a pic-within-a-flick in The End of Violence (1997).[26] Wenders suggested that Hopper'southward paintings entreatment to filmmakers because "You lot tin always tell where the camera is."[29] In Glengarry Glen Ross (1992), two characters visit a café resembling the diner in a scene that illustrates their solitude and despair.[30] The painting was also briefly used every bit a groundwork for a scene in the animated moving-picture show Heavy Traffic (1973) by director Ralph Bakshi.[31]

Nighthawks too influenced the "future noir" look of Blade Runner; director Ridley Scott said "I was constantly waving a reproduction of this painting under the noses of the production squad to illustrate the look and mood I was subsequently".[32] In his review of the 1998 film Dark City, Roger Ebert noted that the picture show had "store windows that owe something to Edward Hopper's Nighthawks."[33] Hard Candy (2005) best-selling a similar debt by setting one scene at a "Nighthawks Diner" where a graphic symbol purchases a T-shirt with Nighthawks printed on it.[34]

Music [edit]

  • Tom Waits'south album Nighthawks at the Diner (1975) features a championship, a cover, and lyrics inspired by Nighthawks.[35]
  • The video for Voice of the Beehive'due south vocal "Monsters and Angels", from Beloved Lingers, is set in a diner reminiscent of the one in Nighthawks, with the ring-members portraying waitstaff and patrons. The band'south web site said they "went with Edward Hopper's classic painting, Nighthawks, as a visual guide."[36]
  • Orchestral Manoeuvres in the Nighttime's 2013 single "Dark Café" was influenced past Nighthawks and mentions Hopper by name. Vii of his paintings are referenced in the lyrics.[37]

Theatre and opera [edit]

  • Jonathan Miller'southward 1982 product of Verdi's opera Rigoletto for English language National Opera, prepare in 1950s New York, designed by Patrick Robertson and Rosemary Vercoe, features one street setting with a bar inspired past the Nighthawks diner.[38]

Goggle box [edit]

  • The boob tube serial CSI: Criminal offense Scene Investigation placed its characters in a version of the painting.[39]
  • The tv show Fresh Off the Boat Flavour 2 poster features the title family in Nighthawks with actress Constance Wu using chopsticks.[xl]
  • The closing scene of Turner Classic Movies (TCM)'southward "Open All Night" intro sequence, which was used to open overnight motion picture presentations from 1994 to 2021, is based on Nighthawks. [41]
  • The American television series Shameless features the Nighthawks painting, in a late flavour 11 arc where Frank pulls off his final "ICOE" heist. [42]

Scale model [edit]

A number of model railroaders, most notably John Armstrong, have recreated the scene on their layouts.[43]

The theater lighting manufacturer Electronic Theatre Controls has a man sized scale model of the diner in the lobby of their headquarters in Middleton, Wisconsin. It is used as a reception area for the building.[44]

Parodies [edit]

Nighthawks has been widely referenced and parodied in popular culture. Versions of it have appeared on posters, T-shirts and greeting cards too as in comic books and advertisements.[45] Typically, these parodies—like Helnwein'south Boulevard of Cleaved Dreams, which became a pop affiche[18]—retain the diner and the highly recognizable diagonal limerick just supercede the patrons and attendant with other characters: animals, Santa Claus and his reindeer, or the corresponding casts of The Adventures of Tintin or Peanuts.[46]

1 parody of Nighthawks even inspired a parody of its own. Michael Bedard's painting Window Shopping (1989), part of his Sitting Ducks series of posters, replaces the figures in the diner with ducks and shows a crocodile outside eying the ducks in apprehension. Poverino Peppino parodied this image in Boulevard of Broken Ducks (1993), in which a contented crocodile lies on the counter while four ducks stand up outside in the pelting.[47]

See also [edit]

  • 100 Bang-up Paintings, 1980 BBC series

References [edit]

Notes

  1. ^ Ian Chilvers and Harold Osborne (Eds.), The Oxford Dictionary of Art Oxford University Press, 1997 (2d edition), p. 273, ISBN 0-19-860084-iv "The central theme of his work is the loneliness of city life, generally expressed through one or two figures in a spare setting - his best-known piece of work, Nighthawks, has an unusually large 'cast' with iv."
  2. ^ Hopper's Nighthawks, Smarthistory video, accessed April 29, 2013.
  3. ^ Brooks, Katherine (July 22, 2012). "Happy Birthday, Edward Hopper!". The Huffington Post. TheHuffingtonPost.com, Inc. Retrieved May five, 2013.
  4. ^ a b The sale was recorded by Josephine Hopper as follows, in volume 2, p. 95 of her and Edward's journal of his art: "May xiii, '42: Chicago Art Institute - three,000 + return of Compartment C in exchange equally part payment. 1,000 - i/3 = 2,000." See Deborah Lyons, Edward Hopper: A Journal of His Work. New York: Whitney Museum of American Art, 1997, p. 63.
  5. ^ Gail Levin in "Interview with Gail Levin"
  6. ^ Wagstaff 2004, p. 44
  7. ^ Kuh, Katherine (1962). "The Creative person's Phonation: Talks With Seventeen Artists". Harper & Row. p. 134. Retrieved January fifteen, 2021.
  8. ^ Meet Deborah Lyons, Edward Hopper: A Journal of His Piece of work. New York: Whitney Museum of American Art, 1997, p. 63
  9. ^ Jo Hopper, in letter to Marion Hopper, January 22, 1942. Quoted in Gail Levin, Edward Hopper: An Intimate Biography. New York: Rizzoli, 2007, p. 349.
  10. ^ Gail Levin, Edward Hopper: An Intimate Biography. New York: Rizzoli, 2007, pp. 351-two, citing Jo Hopper'south diary entry for March 17, 1942.
  11. ^ Hopper, interview with Katharine Kuh, in The Artist's Voice: Talks with Seventeen Modern Artists. 1962. Reprinted, New York: Da Capo Press, 2000, p. 134.
  12. ^ a b Jeremiah Moss (June 10, 2010). "Jeremiah'southward Vanishing New York: Finding Nighthawks, Coda". Jeremiah's Vanishing New York . Retrieved March four, 2013.
  13. ^ Moss, Jeremiah (July five, 2010). "Nighthawks State of Mind". The New York Times . Retrieved May 22, 2013.
  14. ^ Moss, Jeremiah (June nine, 2010). "Finding Nighthawks, Role 3". Jeremiah's Vanishing New York (blog) . Retrieved May 18, 2014.
  15. ^ Levin, 111–112.
  16. ^ Levin, Gail (1995), "Edward Hopper: His Legacy for Artists", in Lyons, Deborah; Weinberg, Adam D. (eds.), Edward Hopper and the American Imagination, New York: Due west. Due west. Norton, pp. 109–115, ISBN0-393-31329-eight
  17. ^ "Boulevard of Cleaved Dreams II". Helnwein.com. Oct 15, 2013. Archived from the original on July four, 2009. Retrieved August 18, 2014.
  18. ^ a b Levin, 109–110.
  19. ^ Levin, 116–123.
  20. ^ Jury, Louise (October 14, 2005), "Rats to the Arts Institution", The Contained
  21. ^ "Prominent Santa Rosa murals to be demolished". Santa Rosa Press Democrat. January 16, 2019. Retrieved July nine, 2020.
  22. ^ Gemünden, two–v, 15; quotation translated from the German past Gemünden.
  23. ^ Updike, John (2005). "Hopper's Polluted Silence". All the same Looking: Essays on American Fine art . New York: Knopf. p. 181. ISBN1-4000-4418-9. . The Oates poem appears in the anthology Hirsch, Edward, ed. (1994), Transforming Vision: Writers on Art , Chicago, Illinois: Fine art Institute of Chicago, ISBN0-8212-2126-four
  24. ^ Gemünden, 5–6.
  25. ^ Janiczek, Christina (December v, 2010). "Book Review: Coast of Chicago by Stuart Dybek". Retrieved March 24, 2016.
  26. ^ a b Gemünden, Gerd (1998), Framed Vsions: Popular Culture, Americanization, and the Gimmicky German and Austrian Imagination, Ann Arbor: University of Michigan Printing, pp. ix–12, ISBN0-472-10947-ii
  27. ^ Doss, Erika (1983), "Edward Hopper, Nighthawks, and Motion-picture show Noir" (PDF), Post Script: Essays in Motion picture and the Humanities, 2 (ii): fourteen–36, archived from the original (PDF) on October sixteen, 2009
  28. ^ Doss, 36.
  29. ^ Berman, Avis (2007), "Hopper", Smithsonian, 38 (4): four, archived from the original on July 11, 2007
  30. ^ Arouet, Carole (2001), "Glengarry Glen Ross ou l'autopsie de 50'image modèle de l'économie américaine" (PDF), La Voix du Regard (14), archived from the original (PDF) on September 28, 2007
  31. ^ "Rotospective: Ralph Bakshi's Second Film is Loftier on Detail, Consistency and Realism | Agent Palmer".
  32. ^ Sammon, Paul M. (1996), Future Noir: the Making of Blade Runner, New York: HarperPrism, p. 74, ISBN0-06-105314-vii
  33. ^ "Night City". ebertfest.com. Archived from the original on September xxx, 2011. Retrieved July 16, 2011.
  34. ^ Chambers, Pecker, "Hard Candy (2006), The King (2006)", Moving picture Freak Central, archived from the original on September 26, 2007, retrieved Baronial 5, 2007
  35. ^ Thiesen, 10; Reynolds, E25.
  36. ^ "Biography". Vocalisation of the Beehive Online. Archived from the original on October 11, 2011. Retrieved Dec 17, 2019. {{cite spider web}}: CS1 maint: unfit URL (link)
  37. ^ "Premiere: OMD, 'Night Café' (Vile Electrodes 'B-Side the C-Side' Remix)". Slicing Upwards Eyeballs. August 5, 2013. Retrieved September 25, 2013.
  38. ^ "Verdi'due south Rigoletto at ENO". Retrieved March 5, 2016.
  39. ^ Theisen, Gordon (2006), Staying Upwardly Much Likewise Late: Edward Hopper'due south Nighthawks and the Dark Side of the American Psyche, New York: Thomas Dunne Books, p. 10, ISBN0-312-33342-0
  40. ^ Slezak, Michael (September xi, 2015). "Fresh Off the Boat's Season 2 Affiche: The Huangs Requite Us an Art-Assail".
  41. ^ "Exopolis Revives Vintage Edward Hopper Inspired Promo for Turner Archetype Movies".
  42. ^ "Shameless' end-of-life storytelling continues to disappoint, non that we expected otherwise".
  43. ^ "And Now for Something Completely Different". O Estimate Railroading On-Line Forum . Retrieved September 18, 2015.
  44. ^ "Secrets of ETC's Town Square". Et Cetera, Electronic Theatre Controls. Retrieved October 9, 2018.
  45. ^ Levin, 125–126. Reynolds, Christopher (September 23, 2006), "Lives of a Diner", Los Angeles Times, pp. E25
  46. ^ Levin, 125–126; Thiesen, 10.
  47. ^ Müller, Beate (1997), "Introduction", Parody: Dimensions and Perspectives, Rodopi, ISBN904200181X

Bibliography

  • Cook, Greg, "Visions of Isolation: Edward Hopper at the MFA", Boston Phoenix, May 4, 2007, p. 22, Arts and Entertainment.
  • Bound, Justin, The Essential Edward Hopper, Wonderland Press, 1998

External links [edit]

  • Nighthawks at The Art Institute of Chicago
  • Sister Wendy'southward American Masterpieces give-and-take of Nighthawks at The Artchive.
  • Jeremiah Moss (June vii, 2010). "Finding Nighthawks". Jeremiah's Vanishing New York.

washingtonwhoubson.blogspot.com

Source: https://en.wikipedia.org/wiki/Nighthawks_%28painting%29

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