Photo: Edward Hopper, *Nighthawks*, 1942 via Wikimedia commons, public domain

Edward Hopper, born in 1882, was an iconic and one of the most eminent painters of the 20th century. He was known for his ability to capture everyday scenes with a profound sense of melancholy and introspection.

Hopper’s works drew inspiration from the modern urban life of big cities, particularly New York City, which is often recognizable in his paintings by its distinctive architecture. His art frequently explores themes of solitude, isolation, and resignation.

Known for capturing fleeting moments, Hopper’s paintings are marked by minimalism, silence, and a sense of ambiguity. His paintings provoke questions and invite viewers to uncover hidden stories.

Hopper was influenced by European culture and master painters such as Johannes Vermeer, Edgar Degas, and Édouard Manet, which can be seen in the precise use of light and shadow, the attempts to capture fleeting moments, and most notably, his unique framing style. Hopper’s framing is often random, blurry, and ephemeral, reminiscent of a cinematic shot.

Additionally, viewing his works is somewhat like peeking behind the scenes of a movie. This is no coincidence, as Hopper was likely one of the greatest cinephiles among painters; the American artist loved cinema, and cinema continues to love him to this day.

This is evident in the works of many filmmakers, from classics like Alfred Hitchcock to Gustav Deutsch, who paid homage to Hopper with his 2013 film Shirley: Visions of Reality.

Top: Scene from a movie “*Shirley: Visions of Reality*.“ Bottom: Edward Hopper, *Morning Sun*, 1952 via wikimedia commons, public domain

Although Edward Hopper himself shunned people, his painting seems to be the best way to get to know the condition of modern man, who appears to be affected by loneliness and loss more than ever before.

“Why I select certain subjects rather than others, I do not exactly know unless it is that I believe them to be the best mediums for a synthesis of my inner experience.”

This quote from Hopper seems to encapsulate the essence of his art, which transcends aesthetic mere considerations to delve into the emotional and psychological depths of human experience.

Additionally, the sparse settings and muted color palettes enhance the feeling of loneliness and introspection, profoundly capturing American life in the early to mid-20th century.

His paintings often depict solitary figures in quiet, almost static environments. The Americans in Hopper's canvases are somehow lost in everyday life, and the buildings become silent witnesses of the mercilessly passing time.

Even though people are painted in seemingly ordinary situations — in offices, on the street, in apartments — they appear to be looking at something outside the frame, something we can only speculate about, as if everyone is hiding some secret.

Their thoughts seem focused on something not present in the image, or on something that doesn't exist at all. It is likely what gives Hopper's work a universal quality, not just an American one.

1. Behind Hopper’s Masterpiece “Nighthawks”

It is worth noting that Edward Hopper's paintings are not just views or typical genre scenes, because they seem to show not only what happened or what Hopper saw, but also to delve deeper. This is especially noticeable in characters who appear to be mentally absent.

Therefore, in my opinion, Hopper's paintings are portraits of the American spirit and solitude. And perhaps the most famous portrayal of the American condition in the 20th century is the painting 'Nighthawks' from 1942.

Edward Hopper, *Nighthawks*, 1942 via Wikimedia commons, public domain

It's worth mentioning that the history of Nighthawks may have started even before 1942, because in 1927, Hopper read Ernest Hemingway's short story "The Killers" in Scribner's Magazine.

Hemingway's story "The Killers" takes place in an anonymous, cheap American diner in the suburbs of Chicago.

Hemingway describes a bizarre scene with very precise, valuable, and economical sentences, somewhat like a police report. This story made a significant impression on Hopper, and he even wrote a letter of congratulations to the magazine's editor-in-chief.

And what Hemingway achieved with words in his story "The Killers," Hopper achieved with a brush in his painting "Nighthawks." This painting is also very precise, allowing us to view the scene from a bit of a distance. It's as if we are silent witnesses observing an event—Hopper shows us this moment with great precision and frugality, much like Hemingway's sentences.

The scene in "Nighthawks" takes place in Greenwich Village, Manhattan, New York City, recognizable by its distinctive architecture. It's the middle of the night, with all the windows dark and the streets empty.

In the corner diner with large windows, the nightlife still lingers. Through the windows, we see a diner where there are four people - three customers and a bartender. They are illuminated by cool and bright light.

The four people in the diner have absolutely no contact with each other. The bartender, who seems to be wiping some dishes, may seem to be making some remark, but it may be one of those comments that do not expect any response, such as 'Up late, huh?' or 'What a long night.' And that's it.

In "Nighthawks," the individuals appear to be immersed in apathy. The man and woman sitting next to each other undoubtedly came there together.

They sit very close, perhaps even their hands touching, maybe it's a casual touch or intentional, or perhaps their hands don't touch at all and they have no physical or verbal interaction with each other — maybe they have nothing to say to each other at all.

The woman appears to be bored, glancing at her nails or some random piece of paper. Perhaps if this scene took place in 2022 instead of 1942, she and the others would likely be staring bored at their smartphones.

Essentially, we know nothing about the events surrounding "Nighthawks". We don't know why people are sitting in the diner in the middle of the night or what has happened or will happen. The context around this masterpiece is empty, and Hopper deliberately leaves us in complete uncertainty, much like Hemingway does in his story "The Killers".

An exciting and big city can also conceal its darker side. By painting a diner at a crossroads from the 1940s, Hopper was actually portraying the loneliness of a big city.

"Nighthawks," like many other Hopper paintings, depict New York City, a metropolis with over 8 million residents often considered the center of the world. It's a city where the American dream is fulfilled daily, yet despite its glamour, fame, wealth, and opportunities, people spend their nights completely alone in empty diners, with nothing to talk about, and essentially no one cares.

The painting "Nighthawks" by Edward Hopper is often classified as an example of American realism. This realism focuses on depicting scenes from everyday life in a precise and detailed manner, often highlighting the melancholy, loneliness, and isolation of contemporary society. "Nighthawks" perfectly embodies these characteristics.

“Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world. No amount of skillful invention can replace the essential element of imagination.”

Hopper protested against being categorized into nationalistic and sentimental trends prevalent in American art during the 1930s, amidst the economic crisis. 'I represent only myself,' Hopper responded. It seems that through representing himself, Hopper is not just painting an ordinary scene, but capturing the state of the 'American spirit'.

Additionally, characteristic of Hopper's style is the quietness and suggestiveness of his vision, combined with a frugality of means. It gives his paintings an almost metaphysical quality.

2. The Sense of Alienation and Isolation

A common feature of Hopper's paintings is that virtually all of them are filled with melancholy, with buildings assuming the role of silent witnesses to the passage of time.

“The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form and design.”

Edward Hopper, *House by the railroad*, 1925 via Wikimedia commons, Public domain

"House by the Railroad" from 1925 is considered Edward Hopper's first mature work in which he creates his own language of expression and artistic style.

The center of the painting is occupied by a monumental Victorian-style building. Hopper deliberately uses artistic techniques to convey the impression of melancholy, isolation, and mystery. First of all, the composition of the painting is subdued, the colors are cool, and the very presentation of the wooden house from a frog's perspective places the viewer at the bottom of the painting, thus intensifying the impression of alienation.

"House by the Railroad" cleverly juxtaposes contrasts. The juxtaposition of an old house with modern railroad technology, the dark, stark lines of architecture, the contrast of light and shadow, obscured windows, and the semi-darkness of the facade are classic examples of Hopper's style, which often portrays isolation and loneliness in the American landscape.

It's worth noting that the railroad tracks cutting across the bottom of the painting can be interpreted in many ways. They may symbolize the displacement of old cultural forms by modernity, as well as travel, which is associated with mystery, further highlighting the pervasive sense of mystery in the painting. This ambiguity adds depth to Hopper's work, reinforcing the impressions of isolation and transience.

The house is isolated, showing no signs of life or human activity — it could be said to be abandoned. The painting perfectly captures the contrast between the pursuit of individualism and the simultaneous experience of loneliness that often accompanies Americans. The railroad tracks crossing the foreground symbolize the passage of time and the inevitability of changes that could lead to even greater isolation.

Edward Hopper's "House by the Railroad" can also be interpreted as a visual narrative of civilizational transformation. The seemingly abandoned house symbolizes old culture and traditions that once formed the central elements of social life. However, over time, these cultural forms are displaced by modernity, represented here by the railroad tracks. The railroad tracks intersecting the landscape underscore the dynamics of change — technological progress and industrialization encroach upon areas that were once tranquil enclaves.

The painting "House by the Railroad", like "Nighthawks", does not provide a clear context, but despite this, this monumental building that occupies the center of the painting seems to have a strong impact on the imagination, and especially the viewer’s imagination growing from the experience of pop culture.

When we look at this painting we see that it’s a reflection on progress and change, a story about a civilization that is constantly evolving, but at the same time leaving behind traces of loneliness and nostalgia for what has passed.

I mentioned that this painting strongly affects the imagination of viewers, especially those with experiences in popular culture, and I did so intentionally. Hopper used a perspective reminiscent of a film frame, enhancing the narrative effect of the painting.

Additionally, the influence of this work can be seen in Alfred Hitchcock's 1960 film "Psycho," where the setting and atmosphere of Hopper's building find their reflection.

On the right: Scene from a movie “*Psycho*“ directed by Hitchcock, 1960

3. Unspoken Nostalgia

Previously, we mentioned that Hopper depicted absent and lost individuals in ordinary situations and places, where the entire surroundings became witnesses to the relentlessly passing time. Although Hopper himself said that he did not intentionally aim to depict alienation and confusion amid the hustle and bustle of the city, he admitted that:

"Unconsciously, probably, I was painting the loneliness of a large city"

Detailed and precisely presented scenes are a hallmark of Hopper's work, and his paintings make us feel like observers, a sensation strongly felt in "Nighthawks," but not only there.

The striking realism of Hopper's works, depicting tranquil and nostalgic scenes of the American world, also possesses a rich, magical dimension. Hopper presents a poignant vision of his era, created using universal and timeless images that allow for diverse and personal interpretations. For this reason, he is often described as a painter of great silence and unspoken nostalgia.

Additionally, Hopper liked night walks, sometimes peering into illuminated windows. The idea for "Room in New York" was born in this way, while walking around New York at night.

Edward Hopper, *Room in New York*, 1932 via Wikimedia commons, public domain

The painter likes to depict internal scenes from a distant, external perspective. "Room in New York" presents a scene observed through a window, placing the viewers in the role of spectators, almost like "paparazzi." We are intruding on the intimacy of two individuals—we see their private space despite not having been invited.

This manner of intruding into people's lives without their knowledge is reminiscent of the painting tradition of great European masters, such as Johannes Vermeer, who himself inspired Hopper.

Moreover, Hopper made his first major trip around Europe in 1906, visiting Paris, Amsterdam, Berlin, and Brussels, which, as he recalled, was a great source of inspiration for him.

Johanees Vermeer, *Girl Reading a Letter at an Open Window*, 1657-1659 via Wikimedia commons, public domain

In "Room in New York," Hopper, like the great master Vermeer, invites us to silently keep company with thoughtful individuals.

Hopper drew inspiration from the art of great European masters and, like them, became a master of creating atmosphere. In his works, similar to Vermeer or Degas, he selected seemingly simple subjects but adeptly concealed a range of deeper emotions and meanings within them.

The prosaic scene depicted in 'Room in New York' holds symbolic meaning, portraying and embodying loneliness—a theme prevalent throughout Hopper's artistry. The figures portrayed, though physically close, do not engage with each other; their faces remain enigmatic. It's worth noting that Hopper, aiming for a universal message, wanted to show that this is not about a specific couple but about people in general.

Hopper created paintings stripped of unnecessary details. What the American painter observes and chooses to immortalize on canvas is often filtered through his mood and internal feelings. The entire scene in 'Room in New York' is ordinary yet extraordinary. We are close to two individuals, yet simultaneously observing them from a distance, like paparazzi. We witness people who are close and alike, yet also strangers to each other. It's worth noting that a key characteristic of Hopper's work is the construction of paintings based on strong contrasts.

We could say that by placing the viewers of his paintings in the role of observers or onlookers, Hopper wanted to bring us closer to the painted characters, allowing us to feel like them, resonate with their experiences, and make the work more universal.

Edward Hopper, *New York Movie*, 1939 via Wikimedia commons, public domain

Hopper's world is suspended in a dimension of waiting, where everything unfolds in silence. Additionally, his scenes are always static, as if frozen in motion.

"New York Movie" is a carefully thought-out painting, with the composition divided into two parts. On the left side, in a dark screening room, viewers watch a film, while on the right, an usherette stands deep in thought. The usherette's bowed head resembles the girl in Vermeer's "Girl Reading a Letter at an Open Window," lost in her own thoughts.

Hopper once again relies on strong contrasts between light and shadow to emphasize the atmosphere of intimacy and alienation. Although the American painter depicts an ordinary scene from everyday life, he skillfully captures the contrast between the mundanity of life and the inner world of the characters. This sense of isolation and loneliness is pervasive in the painting.

Hopper consciously draws inspiration from European masters, presenting the cinema from a Degas-like perspective, which enhances these impressions. The composition resembles a photograph—it is uneven, blurred, and the screening room is cropped. Hopper did this intentionally to capture the moment, much like the Impressionists did.

"New York Movie" is not just a realistic depiction of a daily scene but also a profound reflection on the human condition. Through the use of light, shadow, and composition, Hopper creates a painting that encourages contemplation and reflection on loneliness and introspection within the context of everyday life.

It is also worth noting that cinema as a theme can signify temporality. Hopper might be suggesting not only a reflection on alienation but also on the transience and impermanence of human experiences. Additionally, cinema, as a place focused on projecting imaginations, may imply escapism—a kind of escape from reality. This might explain why the individuals in the American painter's works often seem to be absent.

Edward Hopper, *Hotel Room,* 1931 via Flickr, public domain

“I would like to say what Renoir said, that the important element in the picture cannot be defined, cannot be explained”

Nostalgia is a ubiquitous feature of Hopper's works - it flows through the windows into hotel rooms and cafe interiors, engulfs deserted gas stations and building facades, arousing a certain unexpressed fear and introducing a state of unsettling expectation.

Although nothing seems to indicate that something bad is about to happen, Hopper's paintings create a constant impression that this silence is a harbinger of some inevitable, approaching catastrophe.

“Hotel Room” is an intriguing painting in which Hopper invites us into the intimate sphere of a woman contemplating alone. Her face is hidden in shadow, and a letter is spread out on her lap. The American painter, much like Vermeer in “Girl Reading a Letter at an Open Window,” reveals the inner world of the character, full of introspection and reflection.

Looking at this painting, we step into the role of a silent observer who enters in contemplation, pausing in a dark corner and remaining in silence. Once again, as is typical of Hopper, we see a strong contrast of light and shadow. The light gleams and shimmers on the curtain in the hotel room. This illuminated wall becomes a picture in itself, creating emptiness that fosters an atmosphere of isolation and intimacy.

Edward Hopper, *Hotel by a Railroad,* 1952 via Wikimedia commons, public domain

Melancholy signifies a loss of ability to function within symbolic order, i.e., a feeling of detachment or inability to adapt to societal norms, symbols, or rules. And this translates into introversion, fear, and silence, perfectly encapsulating the essence of Hopper's art.

4. Elusive Everyday Life

“If you could say it in words there would be no reason to paint“

Edward Hopper has a remarkable ability to isolate everything he paints. The figures he portrays, despite being placed in the same space and time, often appear completely detached from each other.

The American painter in his works seems to erect invisible walls between individuals, thereby uncompromisingly reminding us, as viewers, of how profoundly lonely we are in the crowd of similarly isolated characters.

In the works of one of the greatest American painters of the 20th century, there are few paintings where we can discern any kind of connection between people. However, one such painting is "Summer Evening" from 1947, which, despite exuding Hopper's characteristic isolation, portrays individuals who in some way correspond with each other.

In the painting, we see two young people - a boy and a girl, standing at the porch railing. Characteristic of Hopper's works, the painter uses the contrast of light and shadow. The entire environment is in darkness, but artificial light illuminates their characters, separating them from the surrounding darkness. This light focuses attention on them, ignoring the rest of the surroundings, which seem irrelevant at that particular moment and place.

Edward Hopper, in an unconventional approach for the artist, overtly seeks to depict a positive aspect of solitude. The figures on the porch are secluded, absorbed in each other's company, seemingly unaware of our presence. They appear to be defining their connection.

The girl, like others in Hopper's paintings, resembles the thoughtful figures from Vermeer's works. The boy sits casually on the railing. The space that Hopper paints becomes crucial – it is not just a setting, but an element that defines their relationship and emotional state.

Although the darkness of the night is not visible in the painting, it isolates them from the outside world and the matters that do not concern them. What is important is the space defined by light – something that sets the boundaries between what is present between them and what is unspoken.

The most subtle element is the air between them, symbolizing what is unspoken and most important in their relationship. It is not just silence or the lack of words, but also emotional tension and the ability to understand each other without needing to speak.

Hopper's painting shows a moment of intimacy and subtle emotions that do not require clear definitions or words – they are present, though invisible, and at the same time define the essence of their meeting and relationship.

It is worth recalling a quote from Robert Henri, Hopper's teacher at the New York School of Art:

“Low art is just telling things; as, There is the night. High art gives the feel of the night. The latter is nearer reality although the former is a copy”

Hopper's art is about not showing things literally, but intuitively conveying certain emotions.

Edward Hopper, *Hotel Lobby*, 1943 via Wikimedia commons, public domain

"Night Windows" from 1928 is another painting by Hopper where we invade someone's privacy, witnessing the private matters of an anonymous woman in her apartment, who is unaware of our gaze.

Additionally, Hopper adeptly manipulates not only contrasts between light and dark but also between color and absence of color, as only the inside of the room is illuminated and vibrant, starkly contrasting with the subdued tones outside.

The arrangement of three windows in "Night Windows" allows for a dramatic contrast between the illuminated interior and the dark night outside, capturing a visual sensation that Edward Hopper identified as common.

Once again we play the role of a kind of paparazzi, we try to guess the context of the event, but again Hopper is silent, he only conveys emotions and invites us to make our own interpretation. We are looking into the scene from windows, and the only figure is turned away from us.

Once again the viewer is looking into the scene from windows, and the only figure is turned away from the viewer. The figures in Hopper's artwork are generally not the main subject. Often the figures are merely there as an element to flesh out the scene, but not to tell a story or to draw the eye. In this case, the light and dark, inside and outside, color and black are the point of the painting.

City at night is also a frequent subject in Hopper's work of the late 1920s and early '30s.

Edward Hopper, *Office at Night*, 1940 via Wikimedia commons, public domain

A young woman in a tight dress is pulling documents out of a drawer, while a man at the desk, under a lit banker’s lamp, is reviewing papers.

It is worth paying attention to the arrangement of the figures in the composition. The man seems to be immersed in work, but it is difficult to read his emotions—whether he is really focused on work or his thoughts are elsewhere. In turn, the woman stands nearby, as if temporarily detached from her duties.

We don't know what kind of relationship exists between the man and the woman, but the scene certainly suggests some distance and tension between them.

In this painting, Hopper also masterfully uses light, which gives the image a mysterious character. This play with light and shadow often symbolizes hidden aspects between characters and perhaps their internal conflicts in Hopper's work.

Perhaps this is what Hopper's work is all about - a reflection on interpersonal relationships, solitude, and hidden desires.

Summary

Edward Hopper is certainly one of the most outstanding and mysterious painters of the 20th century, his paintings not only shape the cultural memory of America but also have a strong influence on popular culture, as shown by the many references to his works in various movie scenes.

Although Hopper's paintings often reveal very little and leave us without much context, the American artist still manages to capture the richness of human inner life.

Hopper's paintings often evoke a sense of melancholy, depicting individuals in a quiet, almost static environment, where everything seems to be frozen in time." It can be seen in works like "Nighthawks" and "Morning Sun," where the subjects appear isolated and contemplative. His depictions of urban and rural settings reflect the changing landscape and culture of America.

Melancholy and solitude in Hopper’s paintings are not just physical but also emotional, representing the inner world of humans. The quiet streets, empty rooms, and lone characters in paintings like "Room in New York", “Nighthawks“, or "Morning Sun" convey a profound sense of isolation and introspection.

Hopper's art is about inner life and is associated with his ability to capture the invisible aspects of human existence.

Edward Hopper, *Automat*, 1927 via Wikimedia commons, public domain

His art goes beyond the visual to touch on themes of loneliness, introspection, and the essence of American life, making his work a powerful synthesis of form, color, and deep emotional content. This approach allows viewers to connect with his paintings on a personal level.

His paintings of humans in urban environments go far beyond the role of a contemporary cityscape, revealing the essence of the human experience.

By minimizing action, removing nearly all signs of life or movement, and employing dramatic artistic techniques such as strong contrasts between light and shadow, Hopper revealed the inner psychological lives of his characters.

I think the best way to summarize Hopper's work would be to quote Joseph Conrad's Heart of Darkness:

“We live as we dream…alone“

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