what message is portrayed in edward hopper’s nighthawks?
Starting shortly after their marriage in 1924, Edward Hopper and his wife, Josephine (Jo), kept a journal in which he would, using a pencil, make a sketch-drawing of each of his paintings, along with a precise description of certain technical details. Jo Hopper would then add additional information in which the themes of the painting are, to some degree, illuminated.
Nighthawks was probably Hopper’s most ambitious essay in capturing the night-time effects of manmade light. For one thing, the diner’s plate-glass windows cause far more light to spill out onto the sidewalk and the brownstones on the far side of the street than is true in any of his other paintings. As well, this interior light comes from more than a single lightbulb, with the result that multiple shadows are cast, and some spots are brighter than others as a consequence of being lit from more than one angle. Across the street, the line of shadow caused by the upper edge of the diner window is clearly visible towards the top of the painting. These windows, and the ones below them as well, 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 right-hand edge of the rear window, which reflects a vertical yellow band of interior wall, but fainter reflections can also be made out, in the counter-top, of three of the diner’s occupants. None of these reflections would be visible in daylight.
Hopper’s Automat captures a woman who has stepped out of the busy urban scene incumbent with necessary human interaction, taking refuge in the respite provided by a local diner. This image perfectly captures Hopper’s brilliant depictions of the isolation of the individual within the modern urban city. The main figure is depicted sitting alone at a table, staring pensively down at her coffee. The fact that she still wears one glove, having removed the other, indicates this will be a brief stop and that she’ll soon hurry on to another destination. By definition, automats (self-service restaurants where the food and drinks were dispensed through vending machines) suggest isolated experiences, the opportunity to pick up a meal without exchanging pleasantries. This subject probably had great appeal to the reticent, slightly antisocial Hopper. Of additional interest is her delineation from an adjacent table, suggesting the presence of an unidentified viewer. The idea of a voyeur’s gaze on a lonely, dejected single woman was exhibited in Impressionistic masterpieces such as Г‰douard Manet’s The Plum (c. 1877) and Edgar Degas’s L’Absinthe (1876). Hopper surpasses these images by elevating the significance of the setting to a level on par with that of the figure, emphasizing the automat’s function as a busy venue where, despite the autonomous act of retrieving food from a machine, crowds are the norm. Psychological nuance is added by focusing on a woman sunk in loneliness despite being in a place consistently flooded with people.
The house itself resembles many found in the New England towns Hopper frequented as well as his native Rockland County. And although Jo suggested that it was imagined, “He did it out of his head,” it is widely understood to be based on a house on Rte. 9W in Haverstraw, New York. A member of the family who lived there at the time distinctly recalled seeing Hopper sitting across the road working on a painting of the house.
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His figure is clearly at that place but the shadows cover his face wholly. which helps to demo this cryptic. eerie temper. Unlike Hopper. Hitchcock has an advantage of puting sound into the scene which adds to the ambiance of uncertainness. If it had been twenty-four hours clip or igniter in the room. the scene would non hold portrayed the same temper. This first-class usage of shadows by both Hopper and Hitchcock create the ghostliness they are both good known for. Alfred Hitchcock tended to concentrate on a little group of chief characters in each scene to make suspense. This was seen in his film “Vertigo” .
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”. Specifically, 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. 
It has been suggested that Hopper was inspired by a short story of Ernest Hemingway’s, either “The Killers”, which Hopper greatly admired,  or from the more philosophical “A Clean, Well-Lighted Place”.  In keeping with the title of his painting, Hopper later said, Nighthawks has more to do with the possibility of predators in the night than with loneliness.