Notes

Learn To Malding Like Hemingway
A few weeks ago, they requested I write an article on the work of Hopper and one of the Nighthawks, and I, as a good researcher, went to learn more. Since it is generally known, or at least is learned from experience, that to understand a painting, one needs to know its history, the author and most importantly the context in the context in which Hopper painted it. Art is certainly something universal, transcendent to time and space, making it readable in the midst of hundreds of years. The interpretations, however, change, along with how the world and society change and what used to be easily seen, maybe years after, is not so obvious. What was unthinkable before now could be revealing the process to us in a totally different manner.

Re-defining a work over time
It's a little like the scene I see when you view the work of Hopper's " Nighthawks" that was shut at the bar, late at night, in that window, which resembles the inside of a fish tank, in the location of the characters that are who were observed.

I believe that , in this painting, Hopper wanted to give space to the viewer, allowing him to look at the silent tranquil, precise and serene scene presented to us by the night.


The space, designed for an active audience, is perhaps the keystone that allows the work to be changed in the course of time, and to remain timeless, indestructible contemporary, and modern.

The piece, which was created in 1942, is not immediately linked to a specific historical moment, but it seems that its date can be altered with the change of the viewer, according to the time in which the piece is seen.

I believe this is the key to reading, the space dedicated by the observer that Hopper desired to create.


I'll explain.

In my research for information and news about Hopper's " Nighthawks", I was able to be aware of how many people have described it , highlighting the following elements:

"[...] the solitude, the feeling of being empty in the world that's shimmering patina begins to give way [...] The distinctively commercial essence of the myths is that they peel off their masks and reveal a displaced reality, without valid points of reference in the face of uncertainty and a lack of morality. "

The night and the transformation
I think this interpretation is a little ambiguous, that is, it's a interpretation provided by the social context and by the dates attributed to the work of The United States between the 40s and 50s, in the period of economic growth that was redefining the cultural and social assets that were a part of the lives of individuals in a society that was even a bit bourgeois, where night bars are seen as places of solitude or despair.

It's true in a certain degree, and slightly not.

The first time I came across this painting, and without having studied, it gave me a lot of peace and joy, thanks to its bright contrast and its nocturnal stillness.

Perhaps, as a resident of an extremely noisy and crowded city, nighttime is one of the times when I can experience the city in a more peaceful way with fewer people in the area more cars, less noise, more space between the streets to appropriate, where to stay , under the starless urban sky. The night is a different meaning to me than those who frequented bars in America. United States during the 40s as the sun's path down, the city transforms its face, the streets become more free and simple.

We must not forget how society has changed through more than a half century of social and cultural shifts, in between Pop and Rock culture, between the psychoedelic movement in the 1990s and 2000s.

Personally, as a daughter of the 90s, was also a night-time kid and by that I'm referring to everything "formative" experiences that the night provided me with. For me it is always normal to go out in the evening and walk through the neighborhood on Saturdays , looking for the perfect party, dancing until dawn and riding around on a motorbike or car to locate the last bar open you can grab a croissant or hot pizza or hot pizza, and then where to sip the last glass of wine and light the last puff before dawn came. Perhaps from the 80s afterward, the night no longer frightening those who stayed at home (let's keep in mind the jazz movement, anti-prohibitionism and even the cursed Poets, all perfect night owls) and it became the place where the majority of people are able to enjoy the tranquility and security of the other night hawks.


Hopper's modern realism
Nowadays Hopper's painting reminds me of many scenes of real modern life. malding makes me almost happy and, in all likelihood, sympathize with the three main characters, who have with the bartender as he is cleaning the bar to end the bar and begin a new. The nocturnes want to rest in the silence of the nocturnal company, meditate on their lives observing them through a glass and meet as a tribe in the night, welcoming everyone and judging no one. It is no coincidence that in the most ancient ancestral civilizations such as the Indian one that the time between midnight and dawn is called Brahmamuhurta, or time of Brahma, the best time to devote yourself to prayer, meditation, study and introspection. This is the time of day when the energies are more acute and intense, but they are of an ethereal, spiritual focus.

I see no solitude or emptiness in Hopper's painting; I saw more of it in the gentrified streets of the night quarters, since even the right-thinking folks started drinking in the evening.

In other words, the oldest and most popular areas were transformed into consumer showcases; and the spontaneous aggregations of people in the square had to rearrange their groups in line waiting to get their turn; and the music of the drums along the side of the street was drowned out by the police sirens. That scares me today because the night is desnatured by its sacred , timeless atmosphere as a moment of aggregation for lone wolves, and becoming an unintentional and productive element of the system, requiring transparency and respectability in the darkest parts within the cities.



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