Edward Hopper (i)
Edward Hopper said that Nighthawks was inspired by “a restaurant on New York’s Greenwich Avenue where two streets meet,” but the image—with its carefully constructed composition and lack of narrative—has a timeless, universal quality that transcends its particular locale. One of the best-known images of twentieth-century art, the painting depicts an all-night diner in which three customers, all lost in their own thoughts, have congregated. Hopper understanding of the expressive possibilities of light playing on simplified shapes gives the painting its beauty. Fluorescent lights had just come into use in the early 1940s, and the all-night diner emits an eerie glow, like a beacon on the dark street corner. Hopper eliminated any reference to an entrance, and the viewer, drawn to the light, is shut out from the scene by a seamless wedge of glass. The four anonymous and uncommunicative night owls seem as separate and remote from the viewer as they are from one another. (The red-haired woman was actually modeled by the artist’s wife, Jo.) Hopper denied that he purposefully infused this or any other of his paintings with symbols of human isolation and urban emptiness, but he acknowledged that in Nighthawks “unconsciously, probably, I was painting the loneliness of a large city.”
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- Oil Painting (Inspired By)
- OilPainting [{A-9H5QXE}] (Inspired By)
- PROMOTION(BGYKD05)
- NamePlate
- FRAME(W218Y)
- Linen
- Dim(38 x 20.6 inch (96.5 x 52.3 cm))
- Nighthawks The Art Insti...
- Discount of -24 USD on the painting
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- Total:766 USD
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Edward Hopper
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Artworks in museum
- Art Institute Of Chicago (Chicago, United States)
- Brooklyn Museum (Brooklyn, United States)
- Carnegie Museum Of Art (United States)
- Columbus Museum Of Art (United States)
- Dallas Museum Of Art (Dallas, United States)
- Delaware Art Museum (United States)
- Herbert F. Johnson Museum Of Art (Ithaca, United States)
- Hirshhorn Museum And Sculpture Garden (Washington, United States)
- Indianapolis Museum Of Art (Indiana, United States)
- Metropolitan Museum Of Art (New York, United States)
- Montgomery Museum Of Fine Arts (United States)
- Museum Of Fine Arts (Boston, United States)
- Museum Of Modern Art (New York, United States)
- Muskegon Museum Of Art (United States)
- National Gallery Of Art (Washington, United States)
- Philadelphia Museum Of Art (Philadelphia, United States)
- Sheldon Memorial Art Gallery (United States)
- Smithsonian American Art Museum Directions (United States)
- Smithsonian American Art Museum (United States)
- Smithsonian American Art Museum (Washington, United States)
More information on this artwork on this websites
Edward Hopper - Nighthawks, The Art Institute of Chicago, Chica
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ArtsDot.com (Edward Hopper)
Arts & Entertainment > Hobbies & Creative Arts > Artwork
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ArtsDot.com-A-9H5QXE-OilPainting-38x20.6inch-W218Y-EN-USD
OilPainting [{A-9H5QXE}] (Inspired By)-PROMOTION(BGYKD05)-NamePlate-FRAME(W218Y)-Linen-Dim(38 x 20.6 inch (96.5 x 52.3 cm))-Nighthawks The Art Insti...
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Edward Hopper said that Nighthawks was inspired by “a restaurant on New York’s Greenwich Avenue where two streets meet,” but the image—with its carefully constructed composition and lack of narrative—has a timeless, universal quality that transcends its particular locale. One of the best-known images of twentieth-century art, the painting depicts an all-night diner in which three customers, all lost in their own thoughts, have congregated. Hopper understanding of the expressive possibilities of light playing on simplified shapes gives the painting its beauty. Fluorescent lights had just come into use in the early 1940s, and the all-night diner emits an eerie glow, like a beacon on the dark street corner. Hopper eliminated any reference to an entrance, and the viewer, drawn to the light, is shut out from the scene by a seamless wedge of glass. The four anonymous and uncommunicative night owls seem as separate and remote from the viewer as they are from one another. (The red-haired woman was actually modeled by the artist’s wife, Jo.) Hopper denied that he purposefully infused this or any other of his paintings with symbols of human isolation and urban emptiness, but he acknowledged that in Nighthawks “unconsciously, probably, I was painting the loneliness of a large city.”
Edward Hopper
Edward Hopper
Oil On Canvas, Canvas, Oil
Oil On Canvas, Canvas, Oil