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Nighthawks (detail)By Edward Hopper.Regarded as one of the.Nighthawks (1942)ContentsDescriptionName: Nighthawks (1942)Artist:(1882-1967)Medium: on canvasGenre:Movement/Style:Location:For an interpretation of other picturesfrom the 19th and 20th centuries, see: (1800-2000).ART EVALUATIONFor analysis of paintingsby American realistslike Hopper, see.Analysis of Nighthawksby Edward HopperEdward Hopper, a major contributor to of the 20th century, is best-known for his edgy, many of which could easily be stills from a movie. Consistingmostly of commonplace urban scenes, featuring no more than two or threeindividuals, and few if any distractions, they capture the isolation ofcity life like no other form ofin America. Inspired byand movies (he was an ardent moviegoer), Hopper was also a fan ofand its focus on 'the moment', something he encountered on two visitsto Paris in 1906 and 1909. In addition to his signature style of citypainting, he produced some outstanding coastal views - see, for instance,(1929, Metropolitan Museum of Art, New York) at Cape Elizabeth, Maine.Although a long-term resident of New York, Hopper was born and raisedin the small upstate town of Nyack, and is associated with - a style characterized by its use of specificallyAmerican imagery. Undoubtedly one of the of America, he created a whole new vision ofthe individual in the city and revitalized the modern genre painting inthe process.Edward Hopper's influential teacher (1865-1929), leader of the of American realism, sent his students out onto the streetsof New York 'to paint the city and city life as it really is'.Mostly a studio painter himself, Henri rarely applied the formula to hisown work. However, his fellow painters like John Sloan (1871-1951) and(1882-1925), did follow the rule, producing a rough and tough kind ofpainting that, in the case of Bellows, was an important precursor of (1950s).
Hopper, too, despite the fact that he chosethemes that fitted Henri's prescription, was also a studio painter. Heworked mostly from drawings, taking a long time to evolve a design forthe picture that was later modified sometimes quite substantially during the often highly attenuated process of completing the painting.Hopper's stunningly cinematic picture Nighthawksis one of the most reproduced paintings in the.
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It is hard to know precisely why, except, perhaps, for thefact that we all recognize something of its truthfulness from within ourown life experience. It is a picture that speaks of the alienating presenceof the modern city. Several individuals - the nighthawks of the title- are gathered together in the brightly lit window of a downtown dineror cafe that spills its pale bluish light out into the street, castinga shadow on the pavement, yet barely holding a threatening inrush of darknessat bay. Beyond its reach, anything might be happening in the darkness.Psychologically speaking, these people are isolates, thrown together asa group, but also locked within themselves, prey to their own fears andfancies.
It is a picture of city life in the small hours when an unnaturalsilence and an uncanny stillness take hold, tugging suggestively at thesenses of hearing and vision.A typically minimalist composition, itsgeometric curves, accentuated by the style facade and the stage-like quality of the lighting, createsa theatrical setting for the Bogart-and-Bacall couple at the counter.The cafe itself was based on a restaurant on Greenwich Avenue, Manhattan,Hopper's neighbourhood for over fifty years. Hopper himself posed in amirror for the two men, while his wife Jo was the model for the girl.Hopper relied heavily on preliminaryand, typically done while walkingthe streets of New York. These sketches would then be amplified in thestudio, and the whole composition planned in detail before making a starton the actual painting. In his notes for the picture, Hopper describeseverything, as if writing the screenplay for a film. He details the interiorof the diner, down to the cherry wood counter and the jade green tilesat the base of the window. He characterizes the four figures, includingthe back view of a 'sinister' stranger, the light inside thediner and the colours and light of the street outside. Almost everythingwas pre-planned.It is said that Hopper's rather flat andundemonstrative way of painting is at its most eloquent in Nighthawksbecause it holds the image at the very edge of realization.
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There is certainlya sense in which his rendering of architecture here is more model-likethan real. The cafe seems thin, insubstantial, as if constructed out ofcut and folded paper. Arguably, though, it is this very lack of substancethat gives the image its dramatic force. The plight of the 'nighthawks'lies in their vulnerability and we register this fact almost instantly.The apparent fragility of their illuminated place of refuge stands instark contrast to the surrounding darkness that seems to come alive withunknowable presences even as we look.The picture took about six weeks to completeand was completed on January 21st, 1942. Within months it was sold tothe Art Institute of Chicago for $3,000. After gallery commission feesand costs, Hopper's share was just under $2,000.America at WarPerhaps the symbolism of Nighthawks derivesfrom the events of late 1941-42.
The Japanese attack on Pearl Harbor occurredon December 7th, 1941, and President Roosevelt declared war on Japan thenext day. Early in 1942 the United States suffered a second, humiliatingsetback when the Japanese compelled the surrender of their garrison inthe Philippines. For the very first time in their history, a defiant Americanpeople felt threatened and under siege.Explanationof Other Modern American Paintings (1927) by Georgia O'Keeffe.Biomorphic abstraction at its best. (1930) by Grant Wood.Iconic portrait painting of an Iowan farming couple in Eldon. (1931) by Grant Wood.Iconic American history painting. (1931) by Georgia O'Keeffe.Symbolist painting from New Mexico. For the meaning of other 20th centuryrealist paintings, see:.ENCYCLOPEDIA OF ART EDUCATION© visual-arts-cork.com. All rights reserved.