The Night Eagle (Nighthawks) of Edward Hopper is one of the most well-known works in American art in the twentieth century and one of the scenes most replicated by videos. The rumours of the picture came from a small restaurant at Greenwich, New York City, which completely simplified the picture in order to highlight the suffocating atmosphere of isolation and isolation.

Streets outside the restaurant are empty, and there is no trace of waste on the road to suggest road passes. Access to the room is also uncommon, as if the people in the room were trapped. The three customers in the cafeteria had each thought, and there did not seem to be any topic that could be shared with one another or with others.

The missing elements of the story, together with the intelligent designs of the story, have allowed the painting not only to be limited to a location, but to have a broad resonance and universal connotation.

Finding light in darkness

The Night Eagle has been positioned as an emblematic depiction of loneliness and alienation, which was created in 1942, when white chewing was only just started in the early part of the 2040s, Hip has acquired its special qualities and added such non-natural light to its own works. Silent people in empty streets, cafeteria, and cold white-coloured swaps convey a sense of isolation in urban life. While he denied that he intended to release such a signal in the picture, he acknowledged that there might be a sense of instinct depicting alienation between people in a large city. Indeed, it is perhaps one of the reasons why this immutable theme can be raised.

Many may not know that the Night Eagle is a response to the serious crisis experienced by a generation of people — the peat incident of 7 December 1941 and the Second World War. The evening Eagle is in fact a far-reaching psychological impact on Americans in the shadow of war, and even the minds of the people are fraught with depression and anxiety, even when it is not destroyed by the fighting.

In the 1940s, the New York epoch post was suspended.

As a result of fear of attack, New York conducts power-free exercises in public places, and urban lights have been conflated. Hip, like the walking, was forced to walk in a city that was darkened in the word and in the sense of analogy. The mindset of the Night Eagle is derived from a light cafeteria that he imagins for half a day in midnight.

From the perspective of the experience of the war era, probably Hip sees this lighted cafeteria as a light of light and hope rather than a place isolated from the outside; when everything outside is cruel and intolerable, a time when a group is found in darkness. He was very purposeful to include four persons, not just a single person, which was not common in many other paintings.

The economic crisis in the United States of America in the late 1990s was a source of great complacency and joy in the capitalist economy that had developed at a very high pace. This is an era of concern, where people have experienced sudden poverty and suffering, but it has also been constantly being questioned, in different forms and media, to seek answers and find medicines. This reciprocation has led to the simultaneous spraying of modern American art.

The Night Eagle was acquired by the Chicago Museum of Arts in 1942, and this picture has also been one of the most popular exhibits of visitors. In a letter to Daniel Catton Rich, then head of the Museum, Hip referred to the Night Eagle as one of its “most liked works”.

Unknown urban space

The modern urban landscape is the longest visual theme of Edward Houp. Many tried to find real locations in New York for the Night Eagle, but none. Perhaps Hip never intended to replicate any specific space, and the cafeteria in the Night Eagle is probably a scene that was extracted from the cumulative impression of life. In some sense, such a space is more real than the writing of a particular street cafeteria, where the author’s most direct experience is integrated.

Three other works, the New York Film (New York®), the Gare Station (Gas), the early morning of Sunday (Early Sunday Morning), produced by Hip in the 30s, are also well known for the Night Eagle, and let us feel a cross-cutting view in our various landscapes.

The New York cinema reflects the same creative principle. He began the production of the painting in December 1938, before which he had experienced a considerable period of sterling. For the purpose of this work, the painter visited all the New York cinemas, including the Shicheon Lutheran, the Globe and the Caucasium, and finally decided to stay at the Queen’s Theatre in the West 46th Street (now the Rent Vertana Theatre) to carry out initial sketching work, but eventually to show the booths and corridors in the picture without reference to any specific cinema. It should be said that the picture was the overall understanding of the concept of the “New York cinema”.

Edward Höp New York cinema, New York Museum of Modern Arts

On the right side of the picture, the export branch of the screening office, the only lighted corner, with an unknown woman, was engulfed from the throes; it appeared that the woman in the corridor was the subject of the picture, compared with several viewers scattered in the uncharted screen. The woman is not well-balanced, but the haunt of the gold and blurred. Hip is said to be a dress modelled on that of a female employee of the New York Royal Palace Theatre, designed the dress of women in the picture, which can be described as a regeneration of real visual elements. The wife of Hop, artist Jo Hopper, is a prototype for women on the right side of the picture, and she appears in the Night Eagle.

The poet Joseph Stanton wrote a fine poem for the works, entitled “New York Film”, Edward Hopper “s” “New York.” The final section of the poem is as follows:

The picture tells us many about

Different quality