"Art washes away from the soul the dirt of everyday life" - Pablo Picasso
If kept out of direct sunlight, the color in the print should experience little to no fading for many years. Remove dust with a mircrofiber cloth or dry wipe. If necessary to remove spots or splashes art print, spot clean with damp soft cloth.
All prints use images reproduced in their entirety, without cropping or over-printing with text. A label printed with all the relevant info about the painting is affixed to the back of each product. Arrives at your door complete with an easy to use self-leveling hanging kit but product is designed to sit upright on a shelf.
A high resolution digital image of this wonderful artwork has been printed on matte finish fine art paper, mounted to masonite board, and then finished in a 2-inch deep hard wood frame which has been hand-stained in the color of your choice. Each product is produced only when an order is received so each customer will receive a freshly-produced item. Approximate size (as mounted on the wall): 20.5" wide x 11.4" tall x 2" deep.
Original painting is a part of the rt Institute of Chicago Collection. 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, universal quality that transcends its particular locale. One of the best-known images of twentieth-century art, the painting depicts an all-night diner in which three customers, all lost in their own thoughts, have congregated. Hopper’s understanding of the expressive possibilities of light playing on simplified shapes gives the painting its beauty. 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. (The red-haired woman was actually modeled by the artist’s wife, Jo.) Hopper denied that he purposefully infused this or any other of his paintings with symbols of human isolation and urban emptiness, but he acknowledged that in Nighthawks “unconsciously, probably, I was painting the loneliness of a large city.” — Entry, Essential Guide, 2013, p. 58
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