Written & Photographed by Kenn Sava (*unless otherwise credited).

You’re looking at Art history.

After the fact, this may be one of the most historic Photographs in American Art. I’m not only talking about it being a wonderful portrait of Edward Hopper. It’s much more. The date is November 1, 1941. On January 21, 1942, the Artist’s wife, Jo Hopper, would record the completion of the work her husband created on that blank canvas he is posing in front of in the Artist’s Ledger of his work.

In the intervening 81 days, Edward Hopper Painted the incomparable Nighthawks on that very canvas. We don’t know if Arnold Newman had any clue as to what Edward Hopper’s intentions were for that canvas. But we know now. The odds are that he had finished his preliminary work- the inspiration, the sketches, the reference Drawings, the sizing calculations he usually did, and ordered the stretcher and canvas we see behind him on his famous easel. Most likely? At this very moment, this masterpiece was all in his mind, and possibly on it, as Arnold Newman pressed his shutter release.

Click.

For the following 77 1/2 years (exactly, as I write this), and counting, the world has been fascinated by Nighthawks like they have few other Paintings created in the 20th Century. Some of us, including myself, are borderline obsessed by it.

I’ve stood in front of it twice in my life. The first time at The Art Institute of Chicago in 2005, the second at the old Whitney Museum in 2013. In July, 2015, I named this site after it and wrote about why in the very first piece I Posted here, “Welcome To The Night,” To commemorate the 4th anniversary of NighthawkNYC.com, I present My Search for the Nighthawks Diner.

Edward Hopper posed for Arnold Newman, and Painted Nighthawks here, on the top floor of 3 Washington Square North, just east of the Arch in Washington Square Park, in Greenwich Village, that it looks out on, where the Hoppers lived for over 50 years, from 1913 until the Artist’s death in 1967. This is a key point for a variety of reasons, and an intriguing one because Edward Hopper was the furthest thing from “bohemian” one could imagine. Yet, living here he, like most New Yorkers, walked regularly, probably daily, and so the areas he was able to walk to may have become the sites of, or the inspirations for, his Paintings. And so, for almost all of the past 77 years viewers have been asking the question-

“WHERE is the diner Edward Hopper Painted in Nighthawks?”

I’ve been trying to find it for the better part of my life. Having lived in the area for 28 years and having frequented it before I lived here, the Village is an area I’m as familiar with as I am any anywhere. During that time, as during the Hopper’s time here, change has been the only constant. Change has also been a constant enemy in the attempts to locate, for once and for all, the diner we see in Nighthawks. My search has been carried out using only a few tools. First, the extensive Hopper literature. Though very little of it is directly relevant to this search, much of it is indirectly relevant, providing a framework for how, when and where he created his extensive oeuvre of Paintings, Watercolors and Drawings. The books by Gail Levin, (the Hopper’s biographer and the author of numerous other books on the Artist and his work, including the 4 volume Catalog Raisonne), particularly her Hopper’s Places, Second edition and the catalog for the 2013 Whitney Hopper Drawing show have been the most referred to for this quest. Outside of this, I have relied on my own two feet, my cameras and, yes, my gut.

Once that “Could this be IT?” bell goes off, I research the possibility, beginning with “What did this place look like around 1940?” Is any of that here to be seen now (i.e. when I was standing there)? What does common sense tell me? In the case of Edward Hopper, “common sense” comes from studying his work. Hopper’s Places provides part of the basis for some of that “common sense.” In it, Ms. Levin shows us contemporary Photographs she, herself, has taken at various sites Edward Hopper Painted around the world- though not Nighthawks, “…to show how he both recorded and transformed” these places, she says in her “Preface to the Second Edition,” P.vii. On P. x, she adds, “Research for the biography also revealed that in his later years Hopper relied upon observing specific sites more often than anyone had previously realized.” Even though much has changed over time, I still get a bit of a sense of Hopper’s approaches to rendering actual places. Much is, also, to be learned by looking at and studying historic and contemporary pictures of places under consideration. In the case of Nighthawks, I used all of these tools in my search.

My gut has already helped me find one of “Hopper’s Places.” In the 1980s, I was traveling through Cape Cod and looking for a place to stay in Provincetown, Mass. I came upon a small Rooming House and instantly recognized it from the Hopper Painting, Rooms for Tourists, and so I just had to stay there. Part of my belief that Edward Hopper based Nighthawks on a real diner was finding that actual Rooming House in the 1980s when I visited Cape Cod.

I’ve spent most of my time searching in the West Village. For two primary reasons. First, this was the neighborhood Edward Hopper lived in and walked through regularly and most often. Second, as soon as one walks south of West 14th Street (the Village’s northern border) on 7th Avenue South, you’re faced with this-

As I stood in the middle of 7th Avenue South (NOT recommended) there were no fewer than TWELVE triangular corners around me! Those familiar with Manhattan know that almost all of it north of 14th Street is a grid made up almost exclusively of rectangles. Below 14th Street, “old Manhattan” streets wind seemingly with minds of their own, interrupted here and there with a semblance of uptown’s rectangular regularity. The triangular corners we see in Nighthawks are everywhere. WHERE to begin?

Perhaps no site has gotten more “hype” about it over time in regards to Nighthawks than Mulry Square, #3 in the picture. In spite of what many have said, I have seen nothing to indicate to me that this was the site of the Nighthawks Diner.

The historical archives show a gas station with a small burger place at the time, but it looks more like a White Castle precursor to me than anything resembling the Painting’s diner. If anything, it may have been an inspiration for the “fishbowl effect”- where we are looking in through the glass at the customers. More on this later.

Directly across the street from #4 is this building, #9 in the picture, which has been home to the world’s greatest Music club, in my opinion, the Village Vanguard since 1927. There is a pizza place on the corner and the windows go through to the back street, but at 2 stories, I’ve long ago ruled it out. However, Art history will remember this spot because another great Painter, Richard Estes, wonderfully Painted it. (Which reminds me- In 2016, I visited the known site of one of Richard Estes’ latest Paintings in a piece I ironically called “Richard Estes’ Dayhawks At The Corner Cafe.”)

The site of Village Cigars is not numbered in the picture, being further down 7th Avenue on the right past #8. It’s garnered surprisingly little to no attention in the Nighthawks searches I’ve seen to this point. It has some things going for it- the shape and the cigar sign (Nighthawks has a Phillies cigar ad over the diner) but in speaking with the manager, I was told it’s been here for over 100 years, but it’s been a cigar store the whole time. Also, it doesn’t have the curved front window, those dual subway entrances were most likely also there in 1940 and are not in the Painting, and the buildings behind it are too far away. I’ve ruled it out. The Stonewall Inn is a few hundred feet to the left.

I remain completely unconvinced by any and all suggestions of movies I’ve seen. Yes, Edward Hopper was taken by a short story, “The Killers,” written by Ernest Hemingway in 1929, but I, for one, have not seen the evidence of that in the setting in the Painting. In the figures and the mood? Much more likely. “The Killers” was also made into a film, but, in 1946, too late to be considered. Maybe the Painting influenced it, as it has countless movies since.

That leaves the contenders. Speaking of movies, Edward Hopper reportedly frequented the Lowe’s Sheridan Movie Theater (which stood where #12 is in the picture earlier, and is seen further below), and based a Painting inside of it. His walk to and from it is interesting to me and it has been suggested that a few locations along this route are candidates for the Nighthawks diner. I looked closely at these.

Yes, West Village Florist at 70 Greenwich Avenue is sort of triangular. The picture above was taken standing on the northern edge of Mulry Square, seen earlier. Yes, it was along one of Edward Hopper’s possible routes from his apartment to the Lowe’s Sheridan Theater, which was directly across 7th Avenue to the left of the picture.

Yes, it housed a deli 20 years ago before becoming a flower shop the manager told me, and my research added a cleaner/tailor shop circa 1914, and a cigar store in the period of Nighthawks as seen in historical pictures (including in 1938, above), but it’s too small inside, the prow is also too small, and the corner lot too big in my reading of the Painting. Nowhere have I seen reference to it being a diner or coffee shop at any point. The buildings in the background are wrong now, and were wrong then, according to historical pictures.

There is little doubt he saw it, but as I showed earlier, there are countless triangular corners in the area that could have been a partial inspiration. At best, that’s all this is, and I doubt it was a big influence. I’ve ruled it out.

The serious contenders.

In this 1932 picture of the intersection of Greenwich Avenue and West 12th Street, the low, triangular shaped building in front of the west side (the back) of the Lowe’s Sheridan Movie Theater is Crawford Lunch. There are historic pictures taken from Greenwich (on the right) that show customers in Crawford Lunch with West 12th Street seen behind them- which I reproduce further below. I think it is entirely plausible that Edward Hopper saw this, too, and this inspired his conception of a sort of “fishbowl” like setting. Here was an actual working diner/restaurant of the time. Today’s West Village Florist building is about 3/4 of the way down to the right of this picture.

It’s so different, 87 years later, as to defy anyone to guess this site had anything to do with Nighthawks. Therein lies a good deal of the problem finding its sources. It’s now The NYC AIDS Memorial Park at St. Vincent’s Triangle. Note- the brown building on the very far left. It does not look like what’s in the background of the Painting. More on this follows. The Whitney’s Hopper Drawing catalog suggests that Edward Hopper may have looked through Crawford Lunch and seen the “fishbowl effect” we see in the Painting.

Here, we see a revealing example of this “fishbowl effect” seen at Crawford Lunch in a picture taken on April 18, 1926. Notice how you can see into and through the restaurant, on the right, to West 12th Street behind the man in the dark hat under the word LUNCH on the window. The brown apartment building seen in the far left in the prior picture is about to be built seen straight ahead just across the 12th Street past Crawford. Note, also, the word “LUNCH” on the window for later. I believe this is the possible source of the effect given how close it is to the Lowe’s Sheridan Theater (next door). However, it could have as easily been something he saw somewhere else on his walks, in a place they, or anyone else I’ve come across has not considered. But, unlike most of the locations suggested to date, Crawford Lunch was an actual restaurant at the right time and in the, possibly, right place.

That Crawford Lunch was an influence would seem to be confirmed by this-

I can barely make out the word “LUNCH” on the widow above the man with his back to us in this study for the Painting. As we know, Edward Hopper did not include this in the final Painting, among other changes he made to what we see in this incredible and endlessly fascinating Drawing. It sure reminds me of the Crawford Lunch window and may be a give away of its source and, possibly, the source, once and for all, of this “fishbowl effect.”

Edward Hopper said little about the inspiration for Nighthawks and, frankly, I don’t know what to make of what he is reported to have said. In Katherine Kuh’s The Artist’s Voice, P.134, he says, the Painting “was suggested by a restaurant on Greenwich Avenue where two streets meet.” He adds, “I simplified the scene a great deal, and made the restaurant bigger.” Um, Ed? Could you be a bit more obtuse? “Greenwich Avenue where two street meet,” is said to mean West 12th Street & 7th Avenue South by Gail Levin (Hopper’s Places). Couldn’t “two streets meet” mean Greenwich & West 12th Street, where Crawford Lunch was? If it means Greenwich and two other streets, it has to be the triangles where West Village Florist and Mulry Square are. In any event, “…suggested…” I believe means a scene he saw at one of these places, the “fishbowl effect,” which I think he saw at Crawford Lunch, a confirmed restaurant at the time. But, Crawford Lunch doesn’t look like the diner in the Painting- even if he “…made the restaurant bigger.” Neither does the hamburger place on Mulry Square or West Village Florist. And that comment doesn’t specify it’s the same restaurant he mentions on Greenwich Avenue. It could mean “the restaurant we see in the Painting.” Intensely frustrated by this, I finally decided to continue on my own path. This meant looking a little further afield from the Greenwich Avenue vicinity. It turns out I didn’t have far to look.

Further down 7th Avenue South, not as far as Village Cigars, and still well within Edward Hopper’s walking neighborhood, I came across this-

The site of the now sadly defunct Riviera Cafe, which was open here for 48 years, from 1969 until August 31, 2017.

When I came across this site, I had an “Oh. My. Gosh.” moment. Picture it without the modern “greenhouse” addition and it becomes much more like the diner in Nighthawks. Back in the day, I spent a few nights in this place, as I’m sure many reading this have, too, since it was centrally located right at the heart of the West Village. The building behind it to the left, while not exactly what we see in the Painting (I believe they are the same buildings that were standing on this site in 1940), at two stories, which fits all we can see in the Painting (they may go higher in Nighthawks, or they may be cut at two- we can’t tell), and they’re the right distance, though at a slightly different angle, from what we see in the Painting. If this is the location Edward Hopper used, why didn’t he use the buildings we see in the background? I believe it was because of the color. That long building which takes up a good portion of the back is too brightly colored to fit the mood he wanted in Nighthawks. So, possibly, he replaced them. More on this in a minute. I measured the depth of the greenhouse at 90 inches- 7.5 feet. If it were not there, it would have allowed me to stand closer to the building taking this shot. Thinking back to my visits here, there was a bar along the back wall then, and I believe there were tables behind the seats/stools facing the bar, approximately under where that brick wall would come down with the greenhouse gone. Would a horseshoe counter have fit here?

As I looked closer, I discovered this-

Lo and behold, there was something none of the other candidates I’ve discussed thus far have- a curved front window! And, it’s the same on both sides of that door! But, that door. Was it always there, or was the curve complete at one point, which would make The Riviera, minus the modern greenhouse addition, an almost perfect match for Nighthawks Diner?

Stepping around to the back of The Riviera- more intrigue. What’s up with the right half of the wall, and what was there before they replaced it? A window? Also, that door to the left looks earily similar to the door in the Painting on the inside of the Nighthaks Diner. As I said, when I was here, I remember a long bar inside that wall and along it, meaning you’d probably be able to see the necks of liquor bottles in that rectangular window that’s still there, center. But, that’s now/more recently. What about in the past?

Intrigued, to say the least, searching further, I uncovered this-

In 1941, The Riviera was called Riker’s and it was a restaurant! It looks pretty new and shiny, too. Some encouraging things in this picture- there are retractable awnings instead of the permanent greenhouse, for one, but that troublesome front door is still there to the left, and it looks to be the same structure, with the curved windows on either side of it.

The Riviera Cafe occupies the biggest triangular space in this part of the West Village. It’s very accessible to the Hopper’s apartment (a few blocks to the east). Why has it never been properly considered as a candidate?

In 2013, during the Hopper Drawing show, the Whitney Museum came out and said the following-

They’re talking about the Flatiron Building, which is on West 23rd Street at the intersections of Broadway and 5th Avenue- no where near Greenwich Avenue, where that quote has caused most to look, and it’s not even in Greenwich Village! So, the museum has taken the same approach I did in this sense. Also, in the Hopper Drawing catalog they fail to publish the Kuh Hopper quote (above), only footnoting the page in her book it’s on (P.118, footnote 2)! Perhaps, they, too, find it as frustrating as I do? (I realized this only this past week, after my quest had been completed.) They state the Flatiron was “one of the influences,” but fails to name any others!?? “One of” means “more than one.” Well? I’m naming names here.

Assessing the Flatiron’s candidacy, I discovered that at one point it was a cigar store (again, the Painting has a Phillies cigar ad on the top of the diner), but I did not find evidence of it having been a diner. Looking closer at the interior space, I discovered it ostensibly measures 10 feet wide, at its widest, to the right in the picture above, by 30 feet long. I’m no restauranteur, but that seems pretty narrow to me to get a horseshoe shaped counter inside, room for seating around it, room to navigate around those seats and room for the counterperson to work. Glare notwithstanding, here’s what the space looks like pressed against the front curved window-

Notice the radiator on the right, and how far it is from the window. There’s another one on the left which is hard to see in this picture. Both, and the room around them they require for safety and comfort, considerably cut into the amount of usable space here. Also notice the large column to the left rear of the photo, which serve to partially support the gigantic mass of the building above them, which also has a counterpart that’s hard to see because of the glare on the right side (see the picture of the whole prow, above it). The opening between them appears to be tight. How are people supposed to come and go here?

Then, there’s the site itself. It doesn’t feel to me like what we see in the Painting.

The buildings that would be in the background of the Painting are too far away and angled incorrectly- 23rd Street angles to the south east relative to the Flatiron at this point making the buildings begin too far back to be seen as they are in Nighthawks, in addition to being not at all like those seen in the Painting in the many existing historical pictures. Therefore, I believe the Flatiron’s prow isn’t what we see as the diner in the Painting, and this wasn’t the scene shown in the Painting. Of course, any Artist is completely free to do whatever they want, to make anything into anything else, whether it would fit in the “real” place, or not. (There is no such thing as “photorealism” in Painting, in my opinion, but that’s a battle for another day.) Edward Hopper, as per that quote, could have made West Village Florist or the Fatiron’s prow bigger, but their settings are still wrong, in my opinion, so I don’t believe he used either. However, like the Whitney, I believe the Flatiron’s prow was an influence.

Looking at the Painting, one thing is undeniable- that curved window Edward Hopper includes. I’ve found it nowhere else besides on the Flatiron- either on existing buildings or in historical pictures. And, some of the ribs we see on the window in the Painting are present on the Flatiron’s prow today. In 1939, Edward Hopper exhibited at the World’s Fair¹, and so he may have seen the Fair, but was certainly aware of it.

It was an Art Deco marvel. The Nighthawks diner has a decidedly Deco/Streamlined/Moderne feel to it. Though the Flatiron is a Beaux Arts building, the curved window of the prow has a decidedly Art Deco, streamlined, feel to it.

Yet, what he depicts in the background of Nighthawks looks curiously not dissimilar to his Early Sunday Morning, 1930. It’s almost like he dropped those buildings into the background. But, 10 years after the earlier work a good many of those buildings were no doubt still everywhere around town, so they may as easily be generic. Whatever their origin, in this way he juxtaposes the old New York with the new world just seen in the 1939 World’s Fair, which showcased “modern” streamlining and the new flourescent lighting.

Early Sunday Morning is something of a “pendant” to Nighthawks as Carter E. Foster points out in the Hopper Drawing catalog (P.99). It’s the same size and shape and the two are bookends in some ways.

Interestingly, the inspiration for Early Sunday Morning were shops on 7th Avenue, but not in Greenwich Village. They have been located as being between 15th and 16th Streets in Chelsea, just north of the Village. Comparing the Painting to period pictures is fascinating. While it’s unlikely that Edward Hopper stood with a sketchbook and drew the scene, he did capture any number of correct details. But, he changed others- most notably the sunlight. The sun never shines on 7th Avenue at the angle he Paints it shining!

7th Avenue runs North/South, not East/West, like the sun. In reality, the sun would be directly behind the viewer! So? Here’s a case of a found actual site and how Edward Hopper used creative license to mould it to his vision- even if that meant changing nature! What’s moving a curved window 20 blocks south compared to moving the sun?

My Conclusion-

I currently believe that Edward Hopper saw Riker’s about 1941 and those 2 curved windows in its front. I believe he, too, may have been frustrated by that front door and decided to “remodel” it. With a a paintbrush. So, he morphed the Flatiron’s prow’s curved window onto it and then created his own (though somewhat similar to the real) background on West 4th Street in the Painting.

Unless and until I find better candidates, THIS is what I believe Edward Hopper did.

Yes, I’ve used the original, 2015, NighthawkNYC.com banner, which removed the famous couple, leaving that figure I relate to in honor of NHNYC’s 4th Anniversary. On the same page she dated Nighthawks on in the Hopper Ledger, Jo Hopper refers to him as “sinister.” I love her, anyway. Before she died the year following Edward, she bestowed one of the greatest American Artistic Estates to the Whitney Museum (who promptly “rewarded” her incredible generosity by throwing out virtually all of her work, thereby denying Art historians and Art lovers a chance to assess her work on its own- forever²). And I used the banner because, yes- I once sat at The Riviera Cafe’s bar by myself, too.

But, beyond ALL of this, for me? Nighthawks is the first truly modern American Painting. It marks the beginning of all that came after. It captures the essence, the FEELING of living in a City- here, in New York, or anywhere, but even more, it captures the feeling of modern life, which has become more and more about isolation, and fleeting moments of connection- or not, since January, 1942. I always try and remember that Nighthawks, like many of Edward Hopper’s other works, is a voyeuristic moment seen by a pedestrian, who more than likely kept moving on, past this fleeting moment and this scene, wherever it was, and didn’t pause to ponder it indefinitely, like so many have since.

Moments exist as flashes of time.

Click.

Here right now, gone forever. Unless, you’re one of the great geniuses in American Art history, who has the vision, the power and the talent to make it last, and speak to us, indefinitely.

But, for me, at least, Nighthawks isn’t about capturing a fleeting moment magically, though it does.

The other reality that common sense dictates be mentioned is that 78 years later, a better explanation than mine, or a better real life candidate for the Nighthawks Diner may never be found. It may have existed only in his imagination, with a few pieces of real life thrown in- like the Flatiron prow’s window. And that, too, may be part of his point. Nighthawks, in one reading, may not be about place as much as it is the psychological, the inter-personal, and? 

Loneliness.  

The woman in red is all dressed up to go HERE?, I can hear her mentally screaming. Her “companion” sits physically next to her, close to her, but, in my reading of it, their hands don’t quite seem to touch. Maybe you see it differently. For me? I can’t look at this and not think of God and Adam in Michelangelo’s Sistine Chapel Ceiling. There is no life giving, or love giving touch here. He has a cigarette in his hand- not her (left) hand, which remains empty. There is a distance that belies how close together they sit. All of this is, somewhat humorously, mimicked by the twin silver coffee urns to the right of them, that are, also, immobilized and frozen in time. At least they’re together for a common purpose! The same can’t be said of the immortal duo sitting at the counter. 

The gent, who’s nose Jo Hopper called a “Night Hawk” after the beak of the bird seems to be in a conversation with the counterman. About what? Here, he has this lady dressed to kill next to him and he’s ignoring her? Every time I’ve seen this happen in a bar or nightclub, instantly my antennae went up. Something’s not right here. If she’s not getting attention? Something’s wrong. But this is December, 1941. Pearl Harbor happened right in the middle of work on this Painting! 36 days after Arnold Newman took that Photo of Edward Hopper up top. It’s very hard not to think about that when looking at it, though it’s probably easier for many now that World War II was over 75 years ago. Are they discussing the War? Being drafted? Enlisting? A friend who has already been killed? Possibly another denizen of the diner? There are all those empty stools at the counter, after all. “Where is he?” “Oh. You haven’t heard?…” 

The War brought many things. It also brought separation, life without love, life without women, for men, and without men for women, or partners for the LGBT communities. 

Then? There’s my alter-ego. Frozen in paint. Immobilized. Alone forever. Perhaps the most isolated figure in Western Art. What appears to be a rolled up newspaper is under his left elbow. No doubt he knows the score. At least he’s possibly not leaving anyone behind. 

But, for a moment? Let’s forget World War II is getting off to a raging start around the world at this very moment, if we can. Edward Hopper probably conceived this work before Pearl Harbor. What’s striking to me is that of all the loneliness I’ve just mentioned, there’s still more of it I haven’t. 

Let me ask you this- Who is more lonely in the scene in this Painting? 

Any of those 4 people in the diner?
Or?
The person viewing this scene from outside the diner?

For me? Nighthawks remains the ultimate parable of loneliness.  

Maybe then, I shouldn’t be on such a mission to find the “real” place it depicts. Maybe then, it doesn’t need a real place to inhabit. It exists as a permanent condition of being alive inside each one of us, as it did inside of Edward Hopper. Maybe I look for it in the hope of finding the end of it.

*- Soundtrack for this Post is “I Saw You In A Dream” by Japanese House….

“I saw you in a dream
You had stayed the same
You were beckoning me
Said that I had changed”

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