Nighthawks

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Nighthawks was oil in 1942 on canvas painting by Edward Hopper depicting people in the downtown restaurants late at night.

It has been described as a famous work of Hopper and one of the most recognizable paintings in American art. Within a few months of completion, it was sold to the Art Institute of Chicago on May 13, 1942 for $ 3,000.

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Catatan Josephine Hopper pada lukisan

Beginning shortly after their marriage in 1924, Edward Hopper and his wife Josephine (Jo) made a journal in which he would, using a pencil, draw sketches of each of his paintings, along with a precise description of certain technical details. Jo Hopper will then add additional information about the theme of the painting.

A review of the page where Nighthawks is inserted shows (in Edward Hopper's handwriting) that the intended name of the work is actually Night Hawks and that the painting was finished on January 21, 1942.

Jo's handwritten notes about the painting provide much more detail, including the possibility that the title of the painting may have its origins as a reference to the male-shaped nose in the bar, or that the appearance of one of the "nighthawks" is tweaked to relate to the original meaning of words:

A brilliant interior night of cheap restaurants. Bright objects: the pineapple cherry tree counter around it; turning on the metal tank on the back right; brilliant brilliant 3/4 green jade tiles on the canvas - at the bottom of the curved glass window at the corner. The walls are bright, yellow ocre doors faded to the kitchen right.

A very handsome blonde white boy (coat, hat) inside the table. Girl in a red blouse, brown bread eating chicken. Man night hawk (beak) in a dark suit, gray steel hat, black ribbon, blue shirt (net) holding a cigarette. Another dark figure creepy back - on the left. The side of the light goes beyond the pale greenishness. The dark red brick houses across. Entrance above restaurant, dark - Phillies 5c cigars. Cigar image. Outside the shop is dark, green. Note: a little bright ceiling inside the store against the dark outside the street - on the edge of the top of the window.

In January 1942, Jo confirmed his choice for the name. In a letter to Edward's older sister, Marion, she writes, "Ed has just completed a very good picture - a nighttime table with 3 figures.The Night Hawks would be a good name for that E. posed for both men in in front of the mirror, and I was for the girl She was about a month and a half doing it. "

Maps Nighthawks

Ownership history

After completing the canvas at the end of winter of 1942, Hopper placed it on display at Rehn's, a gallery where his paintings are usually placed for sale. It stays there for about a month. On St. Patrick, Edward and Jo Hopper attended the opening of Henri Rousseau's painting exhibition at the Museum of Modern Art, which has been hosted by Daniel Catton Rich, director of the Art Institute of Chicago. Rich is present, along with Alfred Barr, director of the Museum of Modern Art. Barr spoke with enthusiasm about the Gas, which Hopper had painted the year before, and Jo told him that he had to go to Rehn to see Nighthawks. In that event Rich went, Nighthawks 'both as Homer', and immediately arranged his purchase for Chicago. "The sale price was $ 3,000. The painting has remained in the Art Institute's collection ever since.

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Location of restaurant

The scene was supposedly inspired by the (since destroyed) restaurant in Greenwich Village, the Hopper neighborhood in Manhattan. Hopper himself said the painting was "suggested by a restaurant on Greenwich Avenue where two streets meet." In addition, he noted that "I simplify the scene and make the restaurant bigger."

This reference has encouraged Hopper enthusiasts to engage in original restaurant location searches. The inspiration for this search has been summarized on the blog of one of these searchers: "I find it very hard to let go of the idea that the Nighthawks restaurant is a real restaurant, and not a total mix of grocery stores, hamburger joints, and breads all assembled together in painters' imaginations. "

The place usually associated with the previous location was an empty place now known as Mulry Square at the intersection of Seventh Avenue South, Greenwich Avenue and West 11th Street, about seven blocks west of Hopper's studio in Washington Square. However, according to an article by Jeremiah Moss in The New York Times, this can not be the location of a restaurant that inspired the painting as a gas station that occupied much of it from the 1930s to the 1970s.

Moss found land use maps on the municipal atlas of the 1950s that show that "Sometimes between the late 30s and early 50s, a new restaurant emerges near Mulry Square." Specifically, the restaurant is located just to the right of the gas station, "not in the empty north, but on the southwest side, where Perry Street is tilted." This map is not reproduced in the Times article but is displayed on the Moss blog.

Moss came to the conclusion that Hopper had to accept his words: the painting was only "recommended" by a real-life restaurant, he had "simplified the scene in many ways," and he "made the restaurant even bigger." In short, there may not have been a real-life scene identical to that created by Hopper, and if anything, there is no more evidence to indicate the exact location. Moss concluded, "The ultimate truth remains out of reach."

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In popular culture

Because it's so well known, the restaurant scene at Nighthawks has served as a model for much respect and parody.

Painting and sculpting

Many artists have produced works that offend or respond to Nighthawks .

Hopper influenced Photorealists in the late 1960s and early 1970s, including Ralph Goings, which raised the Nighthawks in several visitor paintings. Richard Estes painted a corner store at People's Flowers (1971), but during the day, with a large window of shops reflecting the street and the sky.

Other direct visual quotes began to appear in the 1970s. Gottfried Helnwein's Boulevard of Broken Dreams (1984) replaced three patrons with American pop culture icons Humphrey Bogart, Marilyn Monroe and James Dean, and officers with Elvis Presley. According to Hopper scholar Gail Levin, Helnwein connects the grim atmosphere of Nighthawks with American cinema in the 1950s and with "the tragic fate of the most beloved celebrities of the decade." Nighthawks Revisited , a parody of 1980 by Red Grooms, disrupting street scenes with pedestrians, cats and trash. The parody of Banksy in 2005 showed a fat and tidy soccer hooligan at Union Flag boxers standing outside the restaurant, apparently just breaking a restaurant window with a seat nearby.

Literature

Some authors have explored how customers at Nighthawks come to be in the restaurant at night, or what will happen next. Wolf Wondratschek's Poem "Nighthawks: After Edward Hopper's Painting" imagines men and women sitting together in the restaurant as an estranged couple: "I'm sure he wrote to him/Whatever he says, he's no longer the man/ever read the letter twice." Joyce Carol Oates wrote an interior monologue for the characters in the painting in her poem "Edward Hopper's Nighthawks, 1942". The special issue of Der Spiegel includes five short dramatizations that build five different plots around the painting; one, by screenwriter Christof Schlingensief, turning the scene into a chainsaw massacre. Erik Jendresen and Stuart Dybek also wrote short stories inspired by this painting.

Movies

Hopper is a fan of films and critics who often note the resemblance of his paintings with the movie stills. Nighthawks and work like Night Shadows (1921) anticipate the look of noir movies, whose developments may be influenced by Hopper.

Hopper is a recognized influence on the Pennies from Heaven (1981) music film, where Ken Adam's production designer creates Nighthawks as a set. Wim Wenders director re-creates Nighthawks as a backdrop for in-the-movie in The End of Violence (1997). Wenders suggested that Hopper's painting appeal to filmmakers because "you can always tell where the camera is." In Glengarry Glen Ross (1992), two characters visited cafe-like restaurants in a scene depicting their solitude and despair. The painting was also used as a backdrop for scenes in the animated film Heavy Traffic (1973) by director Ralph Bakshi.

Nighthawks also affects the look of "future noir" from Blade Runner ; Director Ridley Scott said, "I am constantly waving the reproduction of this painting under the nose of the production team to illustrate my look and mood afterwards". In his review of the 1998 film Dark Town , Roger Ebert noted that the movie "stores a window that owes something to Edward Hopper's Nighthawks." Hard Candy (2005) recognizes the same debt by setting a scene in â € Å"Nighthawks Dinerâ € in which a character purchases a T-shirt with Nighthawks printed on it.

Music

• Tom Waits album Nighthawks at the Diner (1975) features titles, covers, and lyrics inspired by Nighthawks .
• The video for Voice of the Beehive's song "Monsters and Angels", from Honey Lingers , is set in a restaurant reminiscent of Nighthawks, with band-members depicting waitstaff and customers. The band's website says they "went with the classic painting of Edward Hopper, Nighthawks , as a visual guide."
• The orchestra maneuver in 2013 Dark "Night Cafà ©  ©" is influenced by Nighthawks and calls Hopper by name. Seven of his paintings are referenced in the lyrics.
• The Blue Devils Drum and Bugle Corps of 2018 production, Dreams and Nighthawks, were inspired by the painting.

Theater/Opera

• The production of Verdi's work in 1982 by Jonathan Miller Rigoletto for the British National Opera, created in the 1950s New York, designed by Patrick Robertson and Rosemary Vercoe, featured a road arrangement with bar inspired by the Nighthawks restaurant.

Television

• The CSI television series: Crime Scene Investigation places its characters in the painting version.
• In the episode of That '70s Show "Drive In," a scene ends with Red and Kitty Foreman sitting in a diner called "Phillies", when Kitty declares that the moment looks familiar. The camera zooms in on the Nighthawks with Red and Kitty wearing a suit and red dress, respectively, from the man and woman sitting together.
• The TV show Fresh Off the Boat Season 2 poster displays the title family on Nighthawks with actress Constance Wu using chopsticks

Model scale

A number of model train tracks, especially John Armstrong, have re-created the scene on their layout.

Parody

Nighthawks have been widely referenced and parodied in popular culture. The version has appeared on posters, T-shirts and greeting cards as well as in comic books and commercials. Typically, these parodies - such as Helnwein's Boulevard of Broken Dreams, which became popular posters - maintained a highly recognizable restaurant and diagonal composition but replaced patrons and officers with other characters: animals, Santa Claus and her reindeer, or cast the The Adventures of Tintin or Peanuts .

A parody of Nighthawks even inspires a parody of herself. Michael Bedard's painting (1989), part of his Sitting Ducks poster series, replaces the figures in restaurants with ducks and shows crocodiles outside seeing ducks in anticipation.. Poverino Peppino parodies this image on Boulevard of Broken Ducks (1993), where the satisfied crocodile is on the table while the four ducks stand outside in the rain.

In 2014, Sirius Radio hosts Howard Stern, featuring a parody on its website entitled Wack Pack Diner.

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References

Note

Bibliografi

• Cook, Greg, "Penglihatan tentang Isolasi: Edward Hopper di MFA", Boston Phoenix, 4 Mei 2007, h. 22, Seni dan Hiburan.
• Spring, Justin, The Essential Edward Hopper , Wonderland Press, 1998

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Tautan eksternal

• Nighthawks di Institut Seni Chicago
• Suster Wendy American Masterpieces diskusi tentang Nighthawks di The Artchive.
• Jeremiah Moss (7 Juni 2010). "Menemukan Nighthawks". Jeremiah Vanishing New York .

Source of the article : Wikipedia