Comparison between 'Nighthawks' by Hopper and Mystery and 'Melancholy of a Street' by de Chirico

Résumé du document

The success of the Melancholy show demonstrated that existential issues are a productive source of inspiration for artists. Universal melancholy affects both painters and spectators. Hopper's Nighthawks and De Chirico's Mystery and Melancholy of a Street represent human metaphysical concern, human philosophical thoughts, and human existential anguish in two different ways. Whereas Hopper uses human beings and an urban landscape, De Chirico painted a worrying landscape without any human presence. Their treatment of colors and light have many points in common and both the works of art invite the spectator to make a story out of the painting, to create a scenario which aims at making us reflect on philosophical and existential issues. In order to study how the two painters manage to transpose philosophy in painting, it is worth comparing the use of colors, light and shadows, the composition, the role of human beings and especially the spectators, in the two works of arts.

Extraits

[...] Human beings are all alone in a hostile environment. The extreme brightness means that the people inside are held, exposed and vulnerable. They hunch their shoulders defensively. Moreover, the bare walls underline that aggressive light. There is also something striking in the colours of the street : the light strongly contrasts with the darkness of the street behind the bar's window. The street at the left hand side of the painting is quite illuminated by the bar but the street just behind the bar is in a total darkness, contrasting with the bright light of the bar. [...]

[...] That could be the sense of nighthawks, predators for one another and imprisoned birds, shut in and miserable where they should be free of flying. Another element that made me think of existential thoughts was the presence of symbols of metaphysics. Indeed, somehow, these paintings could be read as an invitation to think God, in the broadest meaning of the Infinite, the Absolute. The repeating of shapes reminds us of infinity. Some geometrical shapes as the triangle, or the circle refer to Perfection and Infinity, as if the only answer the characters of Nighthawks could find to their loneliness and anguish was to trust the Superior Entity, something that overwhelms them, that worries them but that could help them solve their philosophical searches. [...]

[...] Despite he has not painted human beings on his Mystery and Melancholy of a Street, De Chirico manages to refer to humanity by using symbols of human activity. Indeed, humanity is present through its works and constructions. De Chirico opposes technology / modernity and tradition : he refers to Antique Rome (arcades) and technology (train) by using symbols (architecture and transport). Similarly, Hopper refers to human activity but in a negative way, to underline the vacuity of human activities : nothing in the shop windows (where there should be the exhibition of human “artisan and technical activities), and almost nothing to sell in the bar. [...]

[...] Comparison between Nighthawks by Hopper and Mystery and Melancholy of a Street by de Chirico The success of the Melancholy show demonstrated that existential issues are a productive source of inspiration for artists. Universal melancholy affects both painters and spectators. Hopper's Nighthawks and De Chirico's Mystery and Melancholy of a Street represent human metaphysical concern, human philosophical thoughts, human existential anguish in two different ways. Whereas Hopper uses human beings and a urban landscape, De Chirico painted a worrying landscape without any human presence. [...]

[...] That symmetry and geometry creates a lack of movement, immobility and motionless life, and therefore underlines the coldness of the city and modernity of urban life. There is no heat in this painting. But the geometry is even more striking in De Chiricio's painting. Every element is stylised, represented by simple geometrical shapes. You have geometrical shapes that repeats, giving the idea of infinity. De Chirico is the most representative painter of metaphysical painting (1917-1921). This movement is characterised by oniric paintings where the poetry of immobility prevails. [...]