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

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Hopper found a unique beauty in the “hideous” buildings of the city. But there is another emotion hidden in most of his paintings that makes viewers stare at them. That emotion brilliantly comes out of this painting, but we see it regularly in Hopper’s other creations. It is loneliness. But this is a different type of loneliness. The scene we see Nighthawks is a 1942 oil-on-canvas painting by the American artist Edward Hopper that portrays four people in a downtown diner late at night as viewed through the diner's large glass window. The light coming from the diner illuminates a darkened and deserted urban streetscape. Jury, Louise (October 14, 2005), "Rats to the Arts Establishment", The Independent, archived from the original on June 21, 2022

Let us start with the diner. There is no door indicated for the diner, the only door we see is the one inside that appears to be the kitchen door. The windows almost become an enclosed frame for the four figures inside, leading our attention to them. Furthermore, the diner is the only source of light also lighting up the pavement outside, further highlighting the figures inside. On his first journey overseas, the 24-year-old Hopper absorbed European masterworks, including the detached female figures of Edouard Manet’s A Bar at the Folies-Bergère (1882) and Edgar Degas’s In a Café (1875–76). He particularly responded to Degas’s dynamically cropped, voyeuristic perspectives. And in Amsterdam, he was floored by the powerful lighting and operatic tension of Rembrandt’s The Night Watch (1642).The entire diner is also viewed from an angle through the perspective of an unknown viewer, which is presumably us; there is an element of voyeurism in the way Hopper depicted the Nighthawks scene. Furthermore, Hopper utilized the placement of horizontal and vertical lines to create a focal point, which is the diner.

New York, Whitney Museum of American Art, Edward Hopper Drawings, May 23–Oct. 6, 2013; Dallas Museum of Art, Nov. 17, 2013–Feb. 16, 2014; Minneapolis, Walker Art Center, Mar. 15–June 22, 2014 (New York only). 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. Night + brilliant interior of cheap restaurant. Bright items: cherry wood counter + tops of surrounding stools; light on metal tanks at rear right; brilliant streak of jade green tiles 3⁄ 4 across canvas—at base of glass of window curving at corner. Light walls, dull yellow ocre [ sic] door into kitchen right. It was in 1923 when Hopper and Josephine Nivison met each other again, previously they met through Robert Henri as students. The two ended up marrying in 1924 and would be together for the rest of their lives.A detail of the figures in Nighthawks (1942) by Edward Hopper; Edward Hopper, Public domain, via Wikimedia Commons

New York, Whitney Museum of American Art, Edward Hopper, Sept. 29–Nov. 29, 1964, cat. 43; Art Institute of Chicago, Dec. 18–Jan. 31, 1965. A tall, gangly, and shy teenager, Hopper took refuge in reading and drawing, even poking fun at his awkward physique in some illustrations. But his ability as an artist also fostered lofty career ambitions. When he graduated from high school in 1899, Hopper composed an image of himself in cap and gown, clutching a diploma and walking towards a distant mountain labeled “FAME.” Beneath the pen-and-ink drawing, five words conveyed his trepidation for the future: “OUT INTO THE COLD WORLD.” Paintings at the Art Institute of Chicago, Highlights of the Collection (Chicago: Art Institute of Chicago/Yale University Press, 2017), 135. a b Gemünden, Gerd (1998). Framed Visions: Popular Culture, Americanization, and the Contemporary German and Austrian Imagination. Ann Arbor: University of Michigan Press. pp.9–12. ISBN 0-472-10947-2. The windows are the way of looking at the outer world. Hopper had a taste for realism. He painted on large canvases and he knew how to make something look real. But then why did he ignore the glasses? He could have given a more realistic look to them, but it almost feels like there is no glass in these buildings. This is to blend in the distinction between the two worlds. To create a balance between the dichotomized elements of the painting. Influence of shipbuilding

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The American series Shameless features the Nighthawks painting in a late season 11 arc where Frank Gallagher, a petty criminal and conman, pulls off his final heist, stealing the painting and hiding it in his basement. [47]