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About This Artwork
Oil on canvas
84.1 x 152.4 cm (33 1/8 x 60 in.)
s.l.r. Edward Hopper
Friends of American Art Collection, 1942.51
Not on Display
Edward Hopper said that Nighthawks was inspired by "a restaurant on New York's Greenwich Avenue where two streets meet," but the image, with its carefully constructed composition and lack of narrative, has a timeless quality that transcends its particular locale. One of the best-known images of 20th-century art, the painting depicts an all-night diner in which three customers, all lost in their own thoughts, have congregated. Fluorescent lights had just come into use in the early 1940s, and the all-night diner emits an eerie glow, like a beacon on the dark street corner. Hopper eliminated any reference to an entrance, and the viewer, drawn to the light, is shut out from the scene by a seamless wedge of glass. The four anonymous and uncommunicative night owls seem as separate and remote from the viewer as they are from one another.
Art Institute of Chicago, The Fifty-third Annual Exhibition of American Paintings and Sculpture, Oct. 29-Dec. 10, 1942, cat. 132.
Art Institute of Chicago, The Fifty-fourth Annual Exhibition of American Paintings and Sculpture, Oct. 28-Dec. 12, 1943, no. 15.
New York City, Whitney Museum of American Art, Edward Hopper: Retrospective Exhibition, Feb. 11-Mar. 26, 1950, cat. 61, plate 28; traveled to Museum of Fine Arts, Boston, Apr. 13-May 14, 1950, Detroit Institute of Arts, June 4-July 2, 1950.
New York City, Wildenstein, Loan Exhibition of Seventy Twentieth Century American Paintings, Feb. 21-Mar. 22, 1952, cat. 54.
Venice, Esposiazione Biennale Internazionale d’Arte, June 14-Oct. 19, 1952, cat. 26.
Lake Forest College, Ill.
New York, Whitney Museum of American Art, Edward Hopper, Sept. 29-Nov. 29, 1964, cat. 43; traveled to Art Institute of Chicago, Dec. 18-Jan. 31, 1965.
Cleveland Museum of Art, Ohio, Fifty Years of Modern Art, June 14-July 31, 1966, cat. 81.
New York City, Whitney Museum of American Art, Edward Hopper: The Art and the Artist, Sept. 23, 1980-Jan. 18, 1981, cat. 386; traveled to London, Hayward Gallery, Feb. 11-Mar. 29, 1981 (separate Catalogue, no 96, p. 47), Amsterdam, Stedelijk Museum, Apr. 22-June 17, 1981, Düsseldorf, Städtische Kunsthalle, July 10-Sept. 6, 1981, Art Institute of Chicago, Oct. 3-Nov. 29, 1981, San Francisco Museum of Modern Art, Dec.16, 1981-Feb. 14, 1982.
Essen, Germany, Museum Folkwang, Edward Hopper und die Fotografie: die Warheit des Sichtbaren (Edward Hopper and Photography: The Truth of the Real), June 28-Sept. 27, 1992, p. 63, ill.
London, Tate Modern, Edward Hopper, May 27-Sept. 5, 2004; traveled to Cologne, Museum Ludwig, Oct. 9, 2004-Jan. 9, 2005.
Whitney Museum of American Art, October 3-December 31, 2006.
Boston, Museum of Fine Arts, Edward Hopper, May 6-August 19, 2007; traveled to Washington DC, National Gallery of Art, September 16, 2007-January 21, 2008; Art Institute of Chicago, February 16-May 11, 2008.
Madrid, Museo Thyssen-Bornemisza, Edward Hopper, June 12-September 16, 2012; traveled to Paris, Galeries nationales d'exposition du Grand Palais, October 5, 2012-January 28, 2013, Paris only.
Gail Levin, “Edward Hopper’s Nighthawks, Surrealism, and the War,” Art Institute of Chicago Museum Studies 22, 2 (1996), pp. 180-95, fig. 1.
The Art Institute of Chicago: Twentieth-Century Painting and Sculpture, selected by James N. Wood and Teri J. Edelstein (Art Institute of Chicago, 1996), p. 85, ill.
Judith A. Barter et al., "American Modernism at the Art Institute of Chicago, From World War I to 1955," (Art Institute of Chicago/Yale University Press, 2009), cat. 133.
The artist; consigned to Frank Rehn Galleries, 1942; sold to The Art Institute of Chicago, 1942.
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