(Chicago: Art Institute of Chicago/Yale University Press, 2016), fig. America After the Fall: Painting in the 1930s, exh. Slugg, Handbook of Practical Planning for Art Collectors and Their Advisors (ABA Book Publishing, 2015), ill.

Steven Mintz, The Prime of Life: A History of Modern Adulthood (Belknap Press, 2015), ill.

Robert Burleigh, Edward Hopper Paints His World (Henry Holt and Co., 2014), ill.

Duane Preble Emeritus et al., Prebles’ Artforms, 11th edition (Pearson, 2013), 428, ill.

Derek Matravers, Introducing Philosophy of Art: In Eight Case Studies (Routledge, 2013), ill.

Arthur Shimamura, Experiencing Art: In the Brain of the Beholder (Oxford University Press, 2013), 237 (ill.).Nina Baym et al., eds., The Norton Anthology of American Literature, 8th edition (W.Barter et al., American Modernism at the Art Institute of Chicago, From World War I to 1955 (Chicago: Art Institute of Chicago/Yale University Press, 2009), no. Edelstein (Chicago: Art Institute of Chicago, 1996), 85, ill.

The Art Institute of Chicago: Twentieth–Century Painting and Sculpture, selected by James N.

Gail Levin, “Edward Hopper’s Nighthawks, Surrealism, and the War,” Art Institute of Chicago Museum Studies 22, 2 (1996), 180–95, fig.

'Edward Hopper' Dimensions 84.1 × 152.4 cm (33 1/8 × 60 in.) Credit Line Friends of American Art Collection Reference Number 1942.51 Extended information about this artwork (circa) or BCE.ġ942 Medium Oil on canvas Inscriptions signed l.r. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. Status On View, Gallery 262 Department Arts of the Americas Artist Edward Hopper Title Nighthawks Place United States (Artist's nationality) Dateĭates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. As viewers, we are left to wonder about the figures, their relationships, and this imagined world. Although inspired by a restaurant Hopper had seen on Greenwich Avenue in New York, the painting is not a realistic transcription of an actual place. Through harmonious geometric forms and the glow of the diner’s electric lighting, Hopper created a serene, beautiful, yet enigmatic scene. The composition is tightly organized and spare in details: there is no entrance to the establishment, no debris on the streets. About Nighthawks Edward Hopper recollected, “unconsciously, probably, I was painting the loneliness of a large city.” In an all-night diner, three customers sit at the counter opposite a server, each appear to be lost in thought and disengaged from one another.

The city in the middle of the night