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Picture Girl With Red Coat Looking Into Store Window Art

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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
Year 1942
Medium oil pigment, canvas
Movement American realism Edit this on Wikidata
Dimensions 84.1 cm (33.1 in) × 152.iv cm (lx.0 in)
Location Fine art Found of Chicago
Accretion No. 1942.51 Edit this on Wikidata

[edit on Wikidata]

Nighthawks is a 1942 oil on canvas painting by Edward Hopper that portrays four people in a downtown diner tardily at nighttime equally viewed through the diner's large glass window. The lite coming from the diner illuminates a darkened and deserted urban streetscape.

It has been described as Hopper's best-known work[one] and is one of the nearly recognizable paintings in American art.[2] [3] Within months of its completion, information technology was sold to the Art Institute of Chicago on May 13, 1942, for $3,000.[4]

About the painting [edit]

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

Josephine Hopper's notes on the painting [edit]

Starting shortly after their marriage in 1924, Edward Hopper and his wife Josephine (Jo) kept a periodical in which he would, using a pencil, make a sketch-cartoon of each of his paintings, forth with a precise description of certain technical details. Jo Hopper would and then add boosted information about the theme of the painting.

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

Jo'southward handwritten notes about the painting give considerably more than detail, including the possibility that the painting'southward 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 chronicle to the original meaning of the discussion:

Night + brilliant interior of inexpensive restaurant. Bright items: blood-red woods counter + tops of surrounding stools; light on metal tanks at rear correct; brilliant streak of jade greenish tiles 3/four beyond canvas--at base of glass of window curving at corner. Low-cal walls, dull xanthous ocre [sic] door into kitchen right. Very good looking blond boy in white (coat, cap) inside counter. Girl in red blouse, brownish hair eating sandwich. Man nighttime hawk (neb) in nighttime adjust, steel grey lid, black band, bluish shirt (clean) property cigarette. Other figure dark sinister back--at left. Light side walk exterior stake greenish. Darkish red brick houses reverse. Sign beyond top of restaurant, dark--Phillies 5c cigar. Picture show of cigar. Exterior of shop dark, green. Note: bit of bright ceiling inside shop confronting dark of outside street--at border of stretch of top of window.[8]

In January 1942, Jo confirmed her preference for the name. In a alphabetic character to Edward's sister Marion she wrote, "Ed has just finished a very fine picture--a tiffin counter at dark with iii figures. Nighttime Hawks would exist a fine name for information technology. East. posed for the 2 men in a mirror and I for the daughter. He was about a month and half working on it."[9] Contrary to her claim, there are four figures in the painting.

Ownership history [edit]

Invoice showing $1,971 going to the artist later on commission and costs

Upon completing the sail in the late winter of 1941–42, Hopper placed information technology on brandish at Rehn'south, the gallery at which his paintings were normally placed for sale. It remained in that location 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'southward Museum of Modern Art, which had been organized by Daniel Catton Rich, the director of the Art Institute of Chicago. Rich was in omnipresence, along with Alfred Barr, the manager of the Museum of Modernistic Fine art. Barr spoke enthusiastically of Gas, which Hopper had painted a year earlier, and "Jo told him he just had to go to Rehn's to meet Nighthawks. In the event it was Rich who went, pronounced Nighthawks 'fine as a [Winslow] Homer', and soon bundled its purchase for Chicago."[10] The sale cost was $iii,000 (equivalent to $49,750 in 2021).[4]

Location of the restaurant [edit]

The scene was supposedly inspired past a diner (since demolished) in Greenwich Village, Hopper'southward neighborhood in Manhattan. Hopper himself said the painting "was suggested by a restaurant on Greenwich Artery 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 engage in a search for the location of the original diner. The inspiration for the search has been summed up in the blog of ane of these searchers: "I am finding information technology extremely hard to let go of the notion that the Nighthawks diner was a real diner, and non a full composite built of grocery stores, hamburger joints, and bakeries all cobbled together in the painter'southward imagination".[12]

The spot commonly associated with the former location is a at present-vacant lot known as Mulry Square, at the intersection of Seventh Avenue South, Greenwich Avenue, and West 11th Street, near seven blocks westward of Hopper's studio on Washington Square. However, co-ordinate to an article by Jeremiah Moss in The New York Times, that cannot exist the location of the diner which inspired the painting, because a gas station occupied that lot from the 1930s to the 1970s.[13]

Moss located a land-utilize map in a 1950s municipal atlas showing that "Sometime between the tardily '30s and early '50s, a new diner appeared near Mulry Foursquare". Specifically, the diner was located immediately to the correct of the gas station, "not in the empty northern lot, just on the southwest side, where Perry Street slants". That map is non reproduced in the Times article but is shown on Moss's blog.[14]

Moss comes to the conclusion that Hopper should exist taken at his word: the painting was merely "suggested" by a real-life eatery, he had "simplified the scene a great 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 be, in that location is no longer sufficient bear witness to pin downward the precise location. Moss concludes, "the ultimate truth remains bitterly out of reach".[12]

In pop culture [edit]

Roger Brown's Puerto Rican Wedding (1969). Brownish said that the café in the lower left corner of this painting "isn't prepare like an imitation of Nighthawks, but still refers to information technology very much."[15]

Because information technology 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 accept produced works that insinuate or respond to Nighthawks.

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

More direct visual quotations began to announced 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 connected the bleak mood of Nighthawks with 1950s American cinema and with "the tragic fate of the decade'south best-loved celebrities."[18] Nighthawks Revisited, a 1980 parody past Red Grooms, clutters the street scene with pedestrians, cats, and trash.[19] A 2005 Banksy parody shows a fat, shirtless soccer hooligan in Matrimony Flag boxers standing inebriated outside the diner, apparently having but smashed the diner window with a nearby chair.[20]

A big mural recreation of Nighthawks was painted on a defunct Chinese eating house 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 nighttime, or what will happen next. Wolf Wondratschek'due south poem "Nighthawks: After Edward Hopper'south Painting" imagines the human being and woman sitting together in the diner as an estranged couple: "I bet she wrote him a letter/ Whatever it said, he's no longer the man / Who'd read her messages twice."[22] Joyce Carol Oates wrote interior monologues for the figures in the painting in her poem "Edward Hopper's Nighthawks, 1942".[23] A special effect of Der Spiegel included five brief dramatizations that congenital v different plots effectually the painting; i, past screenwriter Christoph Schlingensief, turned the scene into a chainsaw massacre. Erik Jendresen and Stuart Dybek besides wrote brusque stories inspired by this painting.[24] [25]

Flick [edit]

Hopper was an avid moviegoer and critics have noted the resemblance of his paintings to picture stills. Nighthawks and works such equally Dark Shadows (1921) anticipate the look of movie noir, whose evolution Hopper may have influenced.[26] [27]

Hopper was an acknowledged influence on the film musical Pennies from Heaven (1981), for which product designer Ken Adam recreated Nighthawks every bit a set.[28] Managing director Wim Wenders recreated Nighthawks equally the set for a picture-inside-a-movie in The Cease of Violence (1997).[26] Wenders suggested that Hopper's paintings appeal to filmmakers because "You lot tin e'er tell where the photographic 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 as a background for a scene in the blithe picture show Heavy Traffic (1973) by managing director Ralph Bakshi.[31]

Nighthawks also influenced the "future noir" wait of Bract Runner; managing director Ridley Scott said "I was constantly waving a reproduction of this painting nether the noses of the production team to illustrate the look and mood I was after".[32] In his review of the 1998 film Nighttime Urban center, Roger Ebert noted that the pic had "store windows that owe something to Edward Hopper'due south Nighthawks."[33] Hard Processed (2005) best-selling a like debt by setting one scene at a "Nighthawks Diner" where a character purchases a T-shirt with Nighthawks printed on information technology.[34]

Music [edit]

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

Theatre and opera [edit]

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

Television receiver [edit]

  • The television series CSI: Crime Scene Investigation placed its characters in a version of the painting.[39]
  • The television show Fresh Off the Boat Flavor two poster features the title family unit in Nighthawks with actress Constance Wu using chopsticks.[40]
  • The closing scene of Turner Classic Movies (TCM)'southward "Open All Nighttime" intro sequence, which was used to open up overnight movie presentations from 1994 to 2021, is based on Nighthawks. [41]
  • The American telly series Shameless features the Nighthawks painting, in a late season eleven arc where Frank pulls off his terminal "ICOE" heist. [42]

Calibration model [edit]

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

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

Parodies [edit]

Nighthawks has been widely referenced and parodied in popular culture. Versions of it take appeared on posters, T-shirts and greeting cards as well equally in comic books and advertisements.[45] Typically, these parodies—like Helnwein's Boulevard of Broken Dreams, which became a pop poster[18]—retain the diner and the highly recognizable diagonal composition merely replace the patrons and bellboy with other characters: animals, Santa Claus and his reindeer, or the respective casts of The Adventures of Tintin or Peanuts.[46]

One parody of Nighthawks fifty-fifty inspired a parody of its own. Michael Bedard's painting Window Shopping (1989), role of his Sitting Ducks serial of posters, replaces the figures in the diner with ducks and shows a crocodile outside eying the ducks in anticipation. Poverino Peppino parodied this paradigm in Boulevard of Broken Ducks (1993), in which a contented crocodile lies on the counter while four ducks stand up outside in the rain.[47]

See also [edit]

  • 100 Cracking Paintings, 1980 BBC series

References [edit]

Notes

  1. ^ Ian Chilvers and Harold Osborne (Eds.), The Oxford Dictionary of Fine art Oxford University Printing, 1997 (second edition), p. 273, ISBN 0-19-860084-four "The primal theme of his work is the loneliness of city life, mostly expressed through one or 2 figures in a spare setting - his best-known work, Nighthawks, has an unusually large 'bandage' with four."
  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 5, 2013.
  4. ^ a b The sale was recorded by Josephine Hopper as follows, in book II, p. 95 of her and Edward'southward journal of his fine art: "May xiii, '42: Chicago Art Institute - 3,000 + render of Compartment C in exchange as 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'south Voice: Talks With Seventeen Artists". Harper & Row. p. 134. Retrieved Jan 15, 2021.
  8. ^ See Deborah Lyons, Edward Hopper: A Journal of His 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. 351-2, citing Jo Hopper's diary entry for March 17, 1942.
  11. ^ Hopper, interview with Katharine Kuh, in The Artist'south Vocalism: Talks with Seventeen Modern Artists. 1962. Reprinted, New York: Da Capo Printing, 2000, p. 134.
  12. ^ a b Jeremiah Moss (June 10, 2010). "Jeremiah'south Vanishing New York: Finding Nighthawks, Coda". Jeremiah's Vanishing New York . Retrieved March 4, 2013.
  13. ^ Moss, Jeremiah (July 5, 2010). "Nighthawks State of Mind". The New York Times . Retrieved May 22, 2013.
  14. ^ Moss, Jeremiah (June nine, 2010). "Finding Nighthawks, Function three". 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: Westward. W. Norton, pp. 109–115, ISBN0-393-31329-8
  17. ^ "Boulevard of Broken Dreams Two". Helnwein.com. October fifteen, 2013. Archived from the original on July 4, 2009. Retrieved August xviii, 2014.
  18. ^ a b Levin, 109–110.
  19. ^ Levin, 116–123.
  20. ^ Jury, Louise (October xiv, 2005), "Rats to the Arts Establishment", The Independent
  21. ^ "Prominent Santa Rosa murals to be demolished". Santa Rosa Printing Democrat. January 16, 2019. Retrieved July 9, 2020.
  22. ^ Gemünden, ii–v, 15; quotation translated from the High german by Gemünden.
  23. ^ Updike, John (2005). "Hopper's Polluted Silence". Still Looking: Essays on American Art . New York: Knopf. p. 181. ISBNone-4000-4418-nine. . The Oates poem appears in the anthology Hirsch, Edward, ed. (1994), Transforming Vision: Writers on Fine art , Chicago, Illinois: Fine art Establish of Chicago, ISBN0-8212-2126-4
  24. ^ Gemünden, 5–half-dozen.
  25. ^ Janiczek, Christina (Dec 5, 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 High german and Austrian Imagination, Ann Arbor: University of Michigan Press, pp. nine–12, ISBN0-472-10947-2
  27. ^ Doss, Erika (1983), "Edward Hopper, Nighthawks, and Film Noir" (PDF), Post Script: Essays in Film and the Humanities, 2 (2): fourteen–36, archived from the original (PDF) on October 16, 2009
  28. ^ Doss, 36.
  29. ^ Berman, Avis (2007), "Hopper", Smithsonian, 38 (four): 4, archived from the original on July 11, 2007
  30. ^ Arouet, Carole (2001), "Glengarry Glen Ross ou 50'autopsie de l'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 Picture is High on Detail, Consistency and Realism | Agent Palmer".
  32. ^ Sammon, Paul One thousand. (1996), Hereafter Noir: the Making of Blade Runner, New York: HarperPrism, p. 74, ISBN0-06-105314-7
  33. ^ "Dark Metropolis". ebertfest.com. Archived from the original on September 30, 2011. Retrieved July 16, 2011.
  34. ^ Chambers, Pecker, "Hard Candy (2006), The King (2006)", Film Freak Key, archived from the original on September 26, 2007, retrieved August 5, 2007
  35. ^ Thiesen, 10; Reynolds, E25.
  36. ^ "Biography". Phonation of the Beehive Online. Archived from the original on October 11, 2011. Retrieved December 17, 2019. {{cite web}}: CS1 maint: unfit URL (link)
  37. ^ "Premiere: OMD, 'Nighttime Café' (Vile Electrodes 'B-Side the C-Side' Remix)". Slicing Up Eyeballs. Baronial 5, 2013. Retrieved September 25, 2013.
  38. ^ "Verdi'southward Rigoletto at ENO". Retrieved March five, 2016.
  39. ^ Theisen, Gordon (2006), Staying Up Much Too Late: Edward Hopper's Nighthawks and the Nighttime Side of the American Psyche, New York: Thomas Dunne Books, p. x, ISBN0-312-33342-0
  40. ^ Slezak, Michael (September 11, 2015). "Fresh Off the Boat's Season 2 Poster: The Huangs Requite The states an Fine art-Assault".
  41. ^ "Exopolis Revives Vintage Edward Hopper Inspired Promo for Turner Classic Movies".
  42. ^ "Shameless' end-of-life storytelling continues to disappoint, non that we expected otherwise".
  43. ^ "And Now for Something Completely Dissimilar". O Gauge Railroading On-Line Forum . Retrieved September 18, 2015.
  44. ^ "Secrets of ETC'due south 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.
  • Spring, Justin, The Essential Edward Hopper, Wonderland Press, 1998

External links [edit]

  • Nighthawks at The Art Plant of Chicago
  • Sis Wendy's American Masterpieces discussion of Nighthawks at The Artchive.
  • Jeremiah Moss (June seven, 2010). "Finding Nighthawks". Jeremiah'due south Vanishing New York.

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Source: https://en.wikipedia.org/wiki/Nighthawks_(painting)

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