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

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

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

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Furthermore, if we zoom in on the figures’ skin tones, we see the effects of the light, which gives them a “washed out” look. The light moves onto the pavement outside, illuminating the surrounding area, but as we move further into the street, it becomes darker suggesting more lifelessness around the diner. A detail of the figures in Nighthawks (1942) by Edward Hopper; Edward Hopper, Public domain, via Wikimedia Commons Another detail of the props in Nighthawks (1942) by Edward Hopper; Edward Hopper, Public domain, via Wikimedia Commons 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

Analyzing the painting is a difficult task. Analyzing Hopper’s masterpiece is even more difficult. This analysis, like all other analyses, is not an analysis of the painter’s intentions and thoughts while making the painting but what the viewer (me in this case) feels that the painting is trying to convey. More on this later. Let’s look at the painting. The structure of the painting While the buildings are bland in their architecture, why does everything look so clean? It is the symmetry that adds beauty to it. Notice how the curb runs parallel to the edge of the cafe? Not just that, but the seats are all placed parallel to the outlines of the cafe. Not just that, even the serving table resembles the architecture of the cafe, matching the outlines of its structure. Hopper is reported to have said, “When I don’t feel in the mood for painting, I go to the movies for a week or more. I go on a regular movie binge”. Sammon, Paul M. (1996), Future Noir: the Making of Blade Runner, New York: HarperPrism, p.74, ISBN 0-06-105314-7Although these two figures are sitting closely next to one another they appear to be worlds apart. Their left hands (our right) are both resting on the countertop and at first glance, it would appear they are touching, but if you look closer, there is no intention for their hands to connect despite the physical closeness; both appear deep in thought or maybe just a general malaise? Picture of cigar. Outside of shop dark, green. Note: bit of bright ceiling inside shop against dark of outside street at edge of stretch of top of window. One of the reasons why Hopper’s paintings stand out and catch our attention is because of the use of straight lines running parallel as well as intersecting each other. This adds a beautiful symmetry to the depiction of bland, minimalist buildings; the harsh architecture of a concrete jungle. While lines are one part of the equation, the second part is the use of color. Arthur Shimamura, Experiencing Art: In the Brain of the Beholder (Oxford University Press, 2013), 237 (ill.). The emotional distance in the living subjects of Nighthawks and other paintings by Hopper gives the feeling of isolation, of seclusion. Perhaps it was to show the busy life of a city where you are surrounded by people, yet there is no connection between them and you.

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 Hopper in most of his paintings that involved human subjects used eye-searing, garish color combination. Although the colors in this painting are subdued to show the shower of night, one can clearly see the use of fluorescent tinge in the greens and reds and yellows. The symmetry of Nighthawks Arouet, Carole (2001), "Glengarry Glen Ross ou l'autopsie de l'image modèle de l'économie américaine" (PDF), La Voix du Regard (14), archived from the original (PDF) on September 28, 2007Hopper was born in a shipbuilding community and had a passion for ships and boats. He wanted to be a nautical architect. The influence of ships and boats can be seen in his paintings, both directly and indirectly. Hopper made many paintings of boats and ships. Paintings such as The Cat Boat, Sailing, Tramp Steamer, The Long Leg, etc are such examples. Perhaps it is this mastery of mood and atmosphere—the combination of human figures with the ineffable psychological force achieved through line, color, and light—that allowed Hopper to succeed as a figurative painter even as Abstract Expressionism ascended in New York and seemed to erase everything that came before it. He even earned the admiration of his AbEx peers. “I hate diagonals,” Rothko once remarked, “but I like Hopper’s diagonals. They’re the only diagonals I like.” Above the diner, we see an advertisement, or possibly the name of the diner, that says, “Only 5c Phillies”. The remainder of the advertisement words are partially cut off by the composition, but it appears to read “America’s No 1 Cigar”.



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