Edward Hopper's Nighthawks Misused as Quarantine Icon

Marco Enrico Giacomelli argues against the widespread instrumentalization of Edward Hopper's Nighthawks as a symbol of COVID-19 quarantine solitude. He reveals that the painting was created in 1942 during World War II, not a pandemic, and that Hopper himself was indifferent to the threat of bombing while working. The article draws on letters from Hopper's wife, Josephine Verstille Nivison, to show his abusive behavior, challenging the romanticized view of his work. Giacomelli highlights Hopper's love for Manhattan's cultural life and his rural scenes, such as Gas (1940) and Cape Cod Morning (1950), which depict solitude in non-urban settings. He notes that calls to domestic violence helplines have dropped during quarantine, suggesting a darker reality. The piece references a recent exhibition at Fondation Beyeler focusing on Hopper's landscapes, which was closed due to the pandemic. Giacomelli calls for a more nuanced reading of Hopper's oeuvre, moving beyond the 'painter of metropolitan loneliness' cliché.