Perfect Match HONDA Paint Chip Touch up Paint NIGHTHAWK BLACK - B 92P

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In the paintings by Edward Hopper, buildings are often situated at angles to suggest that his subjects are both in front and behind windows. Presenting a separation between the inside and the outside, glasses in the windows seem to be non-existent, inviting the voyeuristic look and suggesting that interiors can be penetrated by gaze. This device is also evident in the Nighthawks painting, where the large window creates an implicit barrier between the viewer and subjects. The angle at which the diner is set onto the cornerallows Hopper to show the people in a mix of frontal and profile views. Jo Hopper, in a letter to Marion Hopper, January 22, 1942. Quoted in Gail Levin, Edward Hopper: An Intimate Biography. New York: Rizzoli, 2007, p. 349.

Hopper loved his time in Paris and considered it one of the most beautiful cities in the world. He also considered himself an Impressionist throughout his career. Although he has primarily been categorized as an American Realist painter, he was also drawn to the realist genre of painting. Edward Hopper's Nighthawks painting depicts four characters sitting in a sparsely furnished diner at night - a woman and three men.A single light source illuminates the diner interior and spills outward toward the exterior of an empty street where the world seems to have shut down. Placed in ambiguous relationships, none of the four figures in this picture interact with one another. With characters appearing disconnected from each other and the viewer, the Nighthawks painting suggests a chilling revelation that each of us is completely alone in the world.New York City, Whitney Museum of American Art, Edward Hopper: The Art and the Artist, Sept. 23, 1980–Jan. 18, 1981, cat. 386; London, Hayward Gallery, Feb. 11–Mar. 29, 1981 (separate catalogue, cat. 96), Amsterdam, Stedelijk Museum, Apr. 22–June 17, 1981; Düsseldorf, Städtische Kunsthalle, July 10–Sept. 6, 1981; Art Institute of Chicago, Oct. 3–Nov. 29, 1981; San Francisco Museum of Modern Art, Dec16, 1981–Feb. 14, 1982. New York City, Whitney Museum of American Art, Edward Hopper: Retrospective Exhibition, Feb. 11–Mar. 26, 1950, cat. 61, pl. 28; Museum of Fine Arts, Boston, Apr. 13–May 14, 1950; Detroit Institute of Arts, June 4–July 2, 1950. Gail Levin, “Edward Hopper’s Nighthawks, Surrealism, and the War,” Art Institute of Chicago Museum Studies 22, 2 (1996), 180–95, fig. 1. Theisen, Gordon (2006), Staying Up Much Too Late: Edward Hopper's Nighthawks and the Dark Side of the American Psyche, New York: Thomas Dunne Books, p.10, ISBN 0-312-33342-0 There are four figures inside, three sit around the wooden countertop, which takes up most of the space inside the diner and appears almost triangular in its shape. The waitron, who wears a white uniform and hat, is on the inside of this space, behind the counter. He is looking ahead at something with his mouth partially open in a grimace of some sort busy with something behind the counter.

Koenig, John (2021). The Dictionary of Obscure Sorrows. New York: Simon & Schuster. p.47. ISBN 9781501153648. This exhibition of emotion is what’s so common in Hopper’s other major work. The sense of loneliness in the presence of people. This is what gives his paintings the quietness, literally and metaphorically. The loneliness and silence of Nighthawks It is important to note that Hopper painted Nighthawks two years after the outbreak of World War II. This wider context undoubtedly informed its atmosphere. In particular, Hopper deliberately inflects Nighthawks with the uneasy feelings of dislocation that came about across much of society as a result of war. Hopper draws us to war’s dwindling effect on the population by emphasizing the empty streets beyond the diner. The small group of people in the diner, sitting apart from one another could also be a metaphor for the alienating and isolating effects of war, which removed the structures and beliefs that had once held society in place.

Hopper’s lasting legacy

Brooks, Katherine (July 22, 2012). "Happy Birthday, Edward Hopper!". The Huffington Post. TheHuffingtonPost.com, Inc . Retrieved May 5, 2013. Hopper was also moved by Rembrandt van Rijn’s The Night Watch (1642) housed in the Rijksmuseum in Amsterdam. Hopper is reported to have said the following about Rembrandt’s The Night Watch painting: “[it is the] most wonderful thing of his I have seen, its past belief in its reality – it almost amounts to deception”.