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Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper
Nighthawks - Edvard Hopper

Nighthawks - Edvard Hopper

The night birds, not perched but sheltered in The Phillies, a typical American restaurant for night owls, embody a place of silence and oblivion where time seems to stand still.

Subtly inspired by Ernest Hemingway's novella The Killers, for the atmosphere, and Van Gogh's Night Café, for the colour scheme. The melancholy of Opera Seria, the loneliness of human relationships and the cinematographic projections, far removed from the painting of the Old Continent, are undeniably evident in this ordinary scene.

Between the mysterious man in the foreground, the secret lovers in the background and the waiter devoted to his chores, only one thing unites them: the heavy, weighty silence of those who gather to be alone together rather than sink into the infamous "personal solitude".

Quietude and anxiety coexist in the nightly wanderings.

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The artwork in a nutshell

The night birds, not perched but sheltered in The Phillies, a typical American restaurant for night owls, embody a place of silence and oblivion where time seems to stand still.

Subtly inspired by Ernest Hemingway's novella The Killers, for the atmosphere, and Van Gogh's Night Café, for the colour scheme. The melancholy of Opera Seria, the loneliness of human relationships and the cinematographic projections, far removed from the painting of the Old Continent, are undeniably evident in this ordinary scene.

Between the mysterious man in the foreground, the secret lovers in the background and the waiter devoted to his chores, only one thing unites them: the heavy, weighty silence of those who gather to be alone together rather than sink into the infamous "personal solitude".

Quietude and anxiety coexist in the nightly wanderings.

The artist

In his early years, Hopper was a student of Robert Henri, head of the Ashcan School. Convinced that artists should portray precarious conditions, he promoted a bold urban realism. Although this teaching ended in 1906, Hopper continued to follow it throughout his career. From then on, as a solitary giant, he would detach himself from all the new artistic movements taking place in the background and take refuge in French literature and practice by painting impressionist panoramic views. Thus, a nascent formation in urban realism was introduced, whose brushstrokes would paint an instinctive movement devoid of judgment and sentimentality. An inveterate portraitist of melancholy, human detachment becomes the subject of his entire creative process. He will never cease to convey the confrontation between the desolate urban world and the haunting rurality. This fusion created a world of solitude and anguish, making him the most important American Naturalist of the 20th century.
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