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

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Starting shortly after their marriage in 1924, Edward Hopper and his wife Josephine (Jo) kept a journal in which he would use a pencil, make a sketch-drawing of each of his paintings, along with a detailed description of specific technical details. Jo Hopper would then add additional information about the theme of the painting.

Perhaps subconsciously, perhaps intentionally but his love for making ships, the elegance of it seeped into the art of painting cityscapes. Another common thing we see in his paintings (including Nighthawks) is windows and light. The use of warm, fluorescent lights The main “buzz words” around this painting include timelessness and loneliness because it shows us the realities of living in a city brimming with culture and people, yet the other side of it can leave one feeling completely isolated in its throes. Hopper ironically did not solely aim to depict this aspect; he was reported as saying, “unconsciously, probably, I was painting the loneliness of a large city”. We can believe this as he lived in the city and must have felt similar feelings. Known as one of the more popular, and widely reproduced, American oil paintings from the Modern 20th-century art is Nighthawks (1942) by Edward Hopper. Often described as a “timeless” painting, it depicts an every day – or every night – scene of four people in a diner. This is something almost everyone can relate to, but this painting touches on deeper meanings than a diner countertop.

Premiere: OMD, 'Night Café' (Vile Electrodes 'B-Side the C-Side' Remix)". Slicing Up Eyeballs. August 5, 2013 . Retrieved September 25, 2013.

are partly lit by an unseen streetlight, which projects its own mix of light and shadow. As a final note, the bright interior light causes some of the surfaces within the diner to be reflective. This is clearest in the case of the Moss located a land-use map in a 1950s municipal atlas showing that "Sometime between the late '30s and early '50s, a new diner appeared near Mulry Square". The diner was located immediately to the right of the gas station, "not in the empty northern lot, but on the southwest side, where Perry Street slants". That map is not reproduced in the Times article but is shown on Moss's blog. [14]

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It has been suggested that Hopper was inspired by a short story of Ernest Hemingway's, either " The Killers" (1927), which Hopper greatly admired, [4] or from the more philosophical " A Clean, Well-Lighted Place" (1933). [5] In response to a query on loneliness and emptiness in the painting, Hopper outlined that he "didn't see it as particularly lonely". He said "unconsciously, probably, I was painting the loneliness of a large city". [6] Josephine Hopper's notes on the painting [ edit ] curving at corner. Light walls, dull yellow ocre [sic] door into kitchen right. Very good looking blond boy in white (coat, cap) inside counter. Girl in red blouse, brown hair eating sandwich. Man night hawk (beak) in dark suit, steel Koenig, John (2021). The Dictionary of Obscure Sorrows. New York: Simon & Schuster. p.47. ISBN 9781501153648.