Quiet, ennui, and ultimately the
theme of solitude embody Edward Hopper's magnum opus, "Nighthawks."
Painted in 1942, this remains the most iconic piece of American modernism.
Countless parodies and juxtapositions are still surfacing in modern culture,
begging the question 'who hasn't seen this painting?' Still remaining an
influence on painting, Hopper inserted this as the Zenith of 20th century art. Its
simple name alone implies the theme and setting of piece, meanwhile, the
landscape in conjunction of light and dark colors dismiss
"Nighthawks" as another mundane piece.
Edward Hopper worked primarily as a commercial illustrator, mostly
freelance for advertising companies. Though Hopper sold a variety of his
paintings on the side, it wasn't until 1924 at the Rehn gallery he had his
first art exhibit. It was here, at the age of 43, that he sold every painting
on display. In 1925, he painted "The House by the Railroad" that made
use of his iconic contrasts between distances in light, which would remain his
trademark. A theme in his paintings is Americana: both rural, but mostly urban.
"Nighthawks" was inspired by a diner he saw in 1924 that "...was
suggested by a restaurant on Greenwich Avenue where two streets met." The
style of the painting was enhanced by him when "I simplified the scene a
great deal and made the restaurant bigger." Within months of completion,
he sold it to the Art Institute of Chicago for $3,000 and it has remained on
display there since.
Represented in Hoppers iconic piece is his continuation of themes.
Not only is it now a period piece, it reflects a simple docility that Hopper
readily captures in pragmatic glory. Feelings of isolation, boredom, and
comforting isolation can be felt within the diner, even between the couple
drinking coffee and smoking, to the worker idly observing, to the mysterious
character facing away. It puts the feeling into the observer, as if actually
standing out outside seeing this happen on a cold, late night. The colors of
the night remain most important as it draws the eye inside the diner, but
importantly outside the diner as well. The harsh colors of the inside bear a fluorescent
hymnal to the boring interior. Meanwhile, the mute color of the outdoors gives
the solace of a cold, late night in New York City. It’s as if the city where
human, and it is asleep only accented by the eccentric light from the
restaurant.
Hopper's use of light is paramount, as it draws the important
details on the sense of feeling in the actual scenery then the humans in the
picture. The mash up between the outdoor and indoor colors negates a sense of
solitude even in a large city. The cliché: "The city never sleeps" is
challenged, it seems no one is out, but refuge is taken in an average
establishment. Though it draws for an interesting, even mysterious quality as
the narrative of the patrons is left to the imagination of what may be taking
place. The woman examining her nails and the gentlemen next to her, followed by
the man facing away and the worker who eyes them with suspicion share a
palpable solitude. Between the deathly silence of the outdoors and the basic
illumination of the interior, the lack of interaction is apparently mutual. As
if trapped in the glass, the entrance remains hidden, as if they're trapped in
a fish tank. These humble qualities are almost haunting, as if there is a spat
of tension among the night and the people drawn into the store.
The intense loneliness of the painting makes for its greatest
theme. Hopper tones down American realism by removing the intensity of life. Hopper admitted "Unconsciously, probably, I was painting the loneliness of a large city." Capturing the feelings of not despair but humble nods to boring aspects of life. Very challenging, though Hopper achieved, describing the like sensations of open air, "Nighthawk" captures the feeling of ennui, life as just a scene walking by, and giving it a nod, showing life can just be, and we share the sensation.
No comments:
Post a Comment