The True Story Behind Edward Hopper's "Nighthawks" Painting

Scholars of the art world have spent uncounted man-years seeking the meaning and message from Edward Hopper's iconic painting "Nighthawks." Hopper was a well known smoker, but he also consumed many cups of coffee.  And coffee is the key to understanding Nighthawks true meaning.

Edward Hopper's Night Hawk's - An allegorical painting in which 'coffee' is the answer.

Hopper's Nighthawks is an homage to coffee. It shows coffee as the answer to the darkness in the surrounding world. 

When looking at the painting, the viewer's eye is drawn to the light of the diner and more importantly, the shining silver coffee urns. They are analogous to church tabernacles that hold holy scrolls or sacred relics.  But in this case, they hold the elixir of energy- coffee.  Hopper executed this as the country was heading into World War II. He knew there would be many late nights and that people would need to come together. And coffee would be a catalyst for that cohesion.

Now look at the server clad in white behind the counter who is the painting's focal point. He is hunched over as if he were bearing the weight of an angels wings. He is bathed in light  and his server hat is his halo. This is rightly so, as the server is delivering the answer to the lonely, bored and purposeless supplicants seeking fulfillment. He veritably glows and emanates purpose and activity. 

Note the door next to the urns. It represents a portal to the next chamber of life, a passage like the River Styx or the Pearly Gates of St. Peter. And to get to,  and through that key portal, one needs to pass the all important coffee urns.

Moving outward, the three characters at the counter are dark and lack vitality. We see the dark back of one, making the lonely figure all the more pathetic. And a couple together, but not really engaged. Are they waiting for coffee to add meaning to their lives? If they were truly excited to be with each other they would not be in a diner at this hour. Note that the woman has raven hair and is wearing a red dress. She and her partner are seeking something more than the typical pleasures of the night. That activity has left them tired, spent and empty; seeking something more... They are waiting for something transcendent- Coffee.

Finally, we look at the broader surroundings we see that the light comes from the diner. It stands like a beacon to the community; offering companionship, purpose and most importantly, hot water that has steeped ground coffee beans. The diner is the source of all light. It beckons. "Come to me. I will fulfill your spiritual needs. It is dark outside, but light here. I give you community. Drink of my goodness. My angel will serve you. Later, in the morning I will teem with people." This is a place of goodness, humanity, companionship and caffeine. 

I know this scholarly insight has nothing to do with Francis Quirk, but the painting  needed this clarification. BTW- Francis Quirk frequently had coffee receptions at the Lehigh University Art Galleries.   

Mario Cooper Exhibits at Lehigh Did Francis Quirk and Cooper Know Each Other Years Before?

In February of 1968 Francis Quirk organized an exhibit of the works of Mario Cooper and Sidney Gross. This post will focus on Mario Cooper perhaps the most influential artist/illustrator we have seen without a Wikipedia page. Ironically, Cooper does have a Wikipedia page in German. 

Mario Cooper Self-Portrait National Academy of Design

Mario Cooper was born in Mexico City in 1905. His father was a Californian, his mother a native of Mexico. When Mario was nine, the Coopers moved to California where the boy received his education. He studied art at the Otis Art Institute, the Chouinard School, and at Columbia University under sculptor Oronzio Maldarelli. 

There are three aspects to this man's career: illustrator, educator and serious artist.

Illustrator

Mario is known as an illustrator. He plunged into the professional world via engraving house, art service, and advertising agencies. He became an expert letterer and layout man. He studied drawing in night classes wherever possible and copied the work of Dean Cornwell, Harvey Dunn and Pruett Carter. His professional break occurred in 1930 when Collier's magazine, a leading general interest publication, first accepted his work. Watson mentions that Cooper's preferred media were colored inks and watercolor. However, we have discovered at least one oil painting. 

He would go on to illustrate many pieces including books by Agatha Christie.

Mario Cooper 1944

Mario Cooper 1947

Mario Cooper 1941

Mario Cooper 1944

Mario Cooper 1956

For completion we are including an oil painting by Mario Cooper below. We were unable to find any examples of his sculpture. 

Oil Painting "Portrait of a Red-Headed Woman" by Mario Clark

Educator 

Cooper clearly enjoyed sharing the art of working with watercolors. He belonged to several organizations including the Society of Illustrators, the Allied Artists of America, the National Academy of Design, the American Watercolor Society, and the Audubon Society. 

He was president of the American Watercolor Society (AWS) from 1959 to 1986.

He published four watercolor painting books, Painting with Watercolor, Flower Painting in Water Color (1962), The Art of Drapery: Styles and Techniques for Artists (1984) and Watercolor by Design (1980) that can still be found in online bookstores and some libraries.

Cooper taught at the Pratt Institute and Columbia University. The internet is littered with former students who are now artists who benefited from his demanding attention. These include Polly Wood, Linda Crawford, Lou Marek, Zoe Mac, Pat Percy and a host of others. 

Serious Artist

Please do not take the title of this section as being pejorative to illustration art. Illustration art can be extremely good and is frequently better than academic or serious art.  I can wax eloquent on the merits of the works of Rockwell, Homer and many others. 

In his later years, Cooper used watercolors to paint landscape and other studies, such as those exhibited at Lehigh in 1968. In his review write-up in the Brown and White, Mike Jeppson described the displayed works as multitudes, monuments and wall effects. The wall effects were close ups of objects such as a lock on a gate. Lehigh would purchase "The Rock Laguna Beach" which was part of the exhibition. The other two classes of paintings are designed to be viewed from afar and may have included paintings like San Travaso below.

San Travaso by Mario Cooper

Venice by Mario Cooper

London by Mario Cooper

He also participate in the US Air Force's History of Aviation Program. In 1953 Cooper would paint for the US Air Force receiving the courtesy rank of Brigadier General and a plane with seven men to travel the world painting. His work from this period is largely in the Pentagon or national collections. Later in his career Cooper would develop a relationship with NASA and serve as one of the onsite artists painting the space program. 

"The Glittering Hours" 1969 watercolor of Apollo 11 by Mario Cooper

Cooper's painting "Battle Dress" is now in the collection of the National Air and Space Museum along with works by Norman Rockwell, Andrew Wyeth and Peter Hurd.

The Quirk-Cooper Relationship

We don't know the details of the relationship between Francis Quirk and Mario Cooper, but we suspect that there paths may have crossed due to several similarities. Both had worked as illustrators selling commercial works. Both had won Tiffany Fellowships. Both worked in East Coast academia.  But the artist depicted in the 1944 Cooper painting below seems to have a striking similarity to Francis Quirk as drawn in the pastel self-portrait at the bottom of the page. 

Mario Cooper work from 1944 seems to capture Francis Quirk

Francis J. Quirk  Self-portrait in pastel  Undated

A Family of Francis Quirk Paintings Emerges in Florida- Who are these Philadelphians?

A collector in Florida obtained a family of portraits executed by Francis Quirk. The series consists of a daughter (and given the striking family resemblance) her mother and father. 

Daughter                               Mother

Father

The 'daughter painting' was executed in 1945 when Quirk was 38 years old and teaching at Ogontz College outside of Philadelphia. The parental portraits were executed three years later and are dated September of 1948.

Looking first at the daughter's portrait. She is wearing a fine evening dress with a jeweled pin. The pin is a circle with an arrow passing through it and it appears to have small pearls along its surface with a platinum backing. 

The subject is elegantly posed for a three quarter view portrait sitting in a high backed Chippendale chair. Beside her is a small figure of a young girl holding either a bird landing on her arm or a flowerpot. We suspect that the figure held some relevance to the sitter.

Quirk frequently worked in plants or other objects beside his portrait subjects as he did in the portraits of the Summer Pastor, Lady in Turquoise and Edgar Lee Masters. The sitter is well groomed with lipstick and well-coiffed hair.

 

From the label we know that the painting was framed in Philadelphia, so it is logical to assume that the painting was executed nearby. It may have been the daughter of a prominent family or even a student at Ogontz. On annual basis Quirk would create an image of one of the students as a prize. Other possible lifetime landmark events include commemorating a sweet sixteen,  debutante ball, or graduation. Since she is not flashing a ring, the idea of this being an engagement or wedding portrait can be set aside.  Quirk usually included jewelry in his portraits as you can see the rings on her mother and father in the portraits below.  

Francis Quirk signature

The first and most striking element of the mother's portrait is the striking resemblance to her daughter.  At first, blush one might think that she is sitting in the same chair, however in this case, the chair back is much lower. Interestingly, the background for this painting is a bland blue and there are no other knick-knacks or plants in the painting. Her portrait faces left with her left hand resting on the chair's arm. 

Portrait of Philadelphia Mother by Francis Quirk

Francis Quirk Signature

The final painting is the father who sits in the same chair as the mother with a similar austere blue background. His facial portrait is almost straight on, however his body is facing slightly to his right. Given that the frames are identical, in situ, this painting may have hung on the same wall as his wife's positioned so that they are facing each other in familial harmony. (Of course if there were times of family strife, the opposite effect could be achieved by juxtaposing the works)

Portrait of a gentleman father by Francis Quirk

Quirk captured his signet ring in detail. 

Close up of ring on portrait by Francis J. Quirk

Signature by Francis J. Quirk on portrait of an unknown gentleman. 

The big mystery is the identity of these people. Like the elegant lady in turquoise their identities are currently unknown.  If you recognize this family please let us know. They probably lived in the Philadelphia area or New Jersey during World War II and later they or a descendant may have  moved to Florida. Any help giving them names would be appreciated!

These works may be available for purchase. If you have an interest, email us and we can connect you with the owner. 

Francis Quirk Painting comes to light in New Jersey

We were recently contacted by a woman who inherited a painting by Francis Quirk from a New Jersey relative, and it raises a host of questions. The painting depicts three people at a table perhaps playing some sort of game. There is a fourth person whose face is shrouded in the background.

Painting by Francis Quirk

The painting has no signature on the front but is clearly marked on the back as a Francis Quirk painting from 1946. This brings up a whole host of questions. Who are these sitters? What are they doing? What is going on with the enigmatic character standing in the back? Why did he paint this scene? Can we infer something from his not signing the front?

Painting by Francis Quirk

The painting appears to be depicting a moment in time when there is activity around a table. The right-hand character appears to be placing a chip or coin. The middle person may be dressed as a woman in a yellow blouse with white lace collar but may actually be a man. (If she truly is a woman and a relative of a reader of this blog, please accept our apologies.) The person in yellow is looking apprehensively to the right at something outside the frame. 

Close up of Painting by Francis Quirk

The left-hand character is painted in profile and sitting stoically. The sitters are clearly portrayed, but almost have a cartoonish edge to them as if their features were being exaggerated for dramatic effect. And then we have the mysterious person in the rear; bundled up to hide their face with a hat pulled down low. Is that a person in disguise? Or is it an animal such as a large dog. The background consists of barren trees, a possible beach and then water. The execution of the scene and the lack of a front signature may indicate that this was an illustration. What do you think? The palate does appear to be similar to some other Quirk works.

The owner is selling the painting and if you are interested, we can make an introduction.

Francis Quirk Painting of Two Boys IDed by Antiques Guru

We were pleasantly surprised to receive an email from antiques and decorating guru Bob Richter. He had found a Francis Quirk painting in an antiques booth and sent us an image of it in situ. 

Bob graciously sent us a link to his page and when we landed there we saw some old friends. 

In the upper left hand side, we saw his image of an antique booth which prominently featured Quirk's painting of two boys with one holding several gladiolas. 

We had first seen this painting when a collection of Quirk's paintings and drawings were auctioned off in Maine in 2016.  At the time we loved the painting as the flowers really "popped," and the boys were well executed. We were unable to identify the boys.

Portrait of Two boys with gladiolas by Francis J. Quirk

We have seen a few of the works from that liquidation event turn up in various places including a New Jersey auction and an antiques event in upstate New York. 

You can see Bob's Instagram at the link below. 

https://www.instagram.com/bob_richter/

Francis Quirk organizes exhibit for Melville Stark and draws 700!

We have mentioned several times how Francis Quirk was a pillar in the arts community in the Lehigh Valley and beyond. We have also marveled at his ability to draw attention to art at the Lehigh. 

This post focuses on the December 1954 exhibition of Melville Stark’s paintings that also included art from Samuel Wolf and his children. Stark’s art clearly was the draw for the show, but Samuel Wolf was active in the local arts community, although not a professional artist. In any case, we can’t help but be impressed by the crowd of 700 people turning out. 

Mel Stark, born in Honesdale, Pennsylvania in 1903. He was a student of the Impressionist style of the New Hope School, finding a mentor and lifelong friend in Walter E. Baum. Stark studied painting, early on, at the University of Pennsylvania, Syracuse University and the Philadelphia Museum School before he became Baum's lead disciple in Allentown. Baum's bold and painterly, plein-air style had enormous impact and influence on Stark's artwork. Stark was considered a member of the informal group known as the Baum Circle. In 1934, he was one of four Baum students along with Joseph Gehringer, John Berninger, and Walter Mattern accepted into the Circulating Picture Club of the Philadelphia Art Alliance.

Allentown Church by Melville Stark

In the 1930s Stark became a teacher at the Kline-Baum School. He also began to travel to the coastal town of Rockport, Massachusetts, where he rented a home every summer until his death. In Rockport, Stark studied with Anthony Thieme, one of the leading painters of the Rockport School. At one time, Stark was also considered one of the ten leading painters at the summer colony of Rockport, Massachusetts. In 1945 he joined the staff at Cedar Crest College. By the 1950s he became the director of art at Muhlenberg College, and was a founder of the Lehigh Art Alliance. 

Boat Dock with Figures by Melville Stark

Looking at Stark's work, we see some clear similarities with that of Francis Quirk. Quirk loved painting boats and seascapes. Both used lots of color and were skilled at developing accurate portrayals with detailed brush work.  

Bell's Fish House by Mel Stark

Rockport Mass by Melville Stark

Stark had become acquainted with Philip and Muriel Berman, leading collectors and philanthropists in the Allentown area. Actually, Muriel had taken one of Stark's oil painting classes at the Kline-Baum School. The Starks and Bermans socialized together, and Stark helped them in their collecting by bringing them to the studios of other Pennsylvania artists, including Redfield's at Center Bridge. The Bermans became the most significant patrons of Stark's work. 

North Lehigh County by Melville Stark

In 1956, the year of Walter Baum's death, Stark was elected the director of the Allentown Art Museum. In 1962 he was given first award for the best landscape by the National Society of Painters in Casein at the National Arts Club in New York City. Stark began to winter in Florida in 1969, still maintaining his home in Pennsylvania, after accepting a job at the Longboat Key Art Center, where he continued to paint marine scenes en plein-air. Stark died in Allentown on October 28, 1987. 

Stark’s work can command prices in the $1000-$5000 range despite his not having a Wikipedia page or a strong brand image. This is a testament to the quality of his painting, as hype is not driving the valuation. Today Stark’s paintings hang in many private collections throughout the country and at the Berman Museum at Ursinus College, where an exhibition of his works received national notice. 

Mel Stark and Samuel Wolf discuss a painting with two friends

Samuel R. Wolf was born in Nazareth, Pennsylvania and became a well-known local artist. He was a founder, president of the original board and chairman of the Circulating Picture Club at the Allentown Art Museum. Wolf was founder and a former president of the Lehigh Art Alliance and a board member of the Baum Art School. He was also founder of the adult education department of the Upper Perkiomen School District, an art instructor for adult education in the Allentown School District, and a school authority member of the East Penn School District. Interestingly, art was not his main occupation as he maintained a full-time industrial job. He worked at Bradley Pulverizing Co., Allentown, for 43 years before retiring as treasurer in 1971.

Peppino Mangravite Exhibits at Lehigh University Art Gallery

Continuing our discussion of artists supported by Francis Quirk through curated exhibitions, we now look at Peppino Mangravite who was part of a two man show with Kenneth Evatt that opened on November 4, 1962.

Peppino Mangravite  

Mangravite was a well-respected painter and teacher whose oeuvre found its way into numerous museum collections. He had a semi-abstract style, yet his work was approachable and, in some ways charming in its execution.

There were several areas of potential overlap with Francis Quirk. Both were active in academia. Both had exhibited at the Pennsylvania Academy of the Fine Arts. Both had contact with the Rehn Gallery in New York. 

In checking up on recent sales we were a bit surprised to see his paintings sell for $5,000-$10,000. This is unusual for an artist that we thought we were literally pulling back  from obscurity. 

The Senate in Session by Peppino Mangravite

Biography

Peppino Mangravite, an artist of Italian descent, created poetic works based on personal experience and observation, and filtered through his romantic sensibility. His paintings deal more with mood and sensuous effects than with description.

Mangravite was born in 1896, on Lipari, an island north of Sicily, where his father, a naval officer, was stationed. As a child he began a traditional Italian art education in Carrara. Mangravite and his family later immigrated to the United States.

1914, at the age of eighteen, Peppino Gino Mangravite settled in New York City with his father. He had already completed six years of study at the Scuole Techiniche Belle Arti in his native Italy, where coursework included the study of anatomy and Renaissance fresco techniques. Upon arrival in New York, he enrolled at Cooper Union, and by 1917 was studying under RobertHenri at the Art Students League. 

Peppino Mangravite with students

Mangravite began his teaching career - one that lasted half a century - as assistant to Hans Peter Hansen at the Hansen School of Fine Arts in New York during the academic year 1918/19. He was an involved and committed teacher who worked equally well with young children and college students. For several summers in the 1920s, he ran summer art camps in the Adirondacks for children and adults. From 1926-1928 Mangravite lived in Washington D.C., where he taught at the Potomac School. Most of his life was spent in New York where he served on the faculties of Sarah Lawrence College, Cooper Union, the Art Students League, and, most notably, Columbia University. In addition, he spent 1937-38 as head of the art department of Colorado Springs Fine Arts Center, and from 1940-1942 taught at the Art Institute of Chicago. Mangravite was active in professional arts and education organizations. He wrote several articles about art education and served as chairman of the College Art Association's Committee for the Study of the Practice of Art Courses, 1943-1944.

Mangravite also was a working artist; represented by Dudensing Gallery, and later Rehn Galleries, he exhibited widely throughout the United States, and, occasionally, abroad. He won a few awards, including a gold medal for mural painting at the Philadelphia Sesquicentennial Exhibition, 1926; the American Gold Medal Purchase Prize, Golden Gate Exposition, San Francisco, 1939; Alice McFadden Eyre Medal for best print, Pennsylvania Academy of the Fine Arts, 1946; and a silver medal for mosaic design, Architectural League of New York, 1955.

Mangravite was awarded Guggenheim Fellowships in 1932 and 1935, and during that same period was commissioned by the U.S. Treasury Department to paint murals for post offices in Hempstead, N.Y. and Atlantic City, N.J. Other commissions of note include a mural for the Governor's Mansion in the Virgin Islands, and a mosaic mural for the main altar of the Workers' Chapel, St. Anthony's Shrine, Boston, Mass. 

Family Recreation by Peppino Mangravite  Atlantic City NJ

Settlement of Hempstead by Peppino Mangravite  Hempstead, NY

Arrival of British dirigible R.34 with the first air mail in 1919 by Peppino Mangravite  Hempstead, NY

Development of Jackson Heights by Peppino Mangravite  Flushing, NY

Sponsored by Columbia University and with the assistance of the United States Information Agency, Mangravite met with art department heads of several European universities in 1955 to discuss the University's plans for a new arts center. He also interviewed eight artists - Georges Braque, Marc Chagall, Giorgio De Chirico, Marino Marini, Henry Moore, Giorgio Morandi, Georges Rouault, and Graham Southerland -recording their ideas about art, life, and education.

With the passing of Covid, we were able to visit the Workers Chapel, St. Anthony's Shrine in Boston's Financial District. There we were able to obtain the following images of Mangravite's mosaic behind the altar,. It is quite nice.

Peppino Mangravite's Mosaic at the Workers' Chapel, St. Anthony's Shrine Boston, Massachusetts USA

Peppino Mangravite's Mosaic at the Workers' Chapel, St. Anthony's Shrine Boston, Massachusetts USA

Peppino Mangravite's Mosaic at the Workers' Chapel, St. Anthony's Shrine Boston, Massachusetts USA

Peppino Mangravite's Mosaic at the Workers' Chapel, St. Anthony's Shrine Boston, Massachusetts USA

Peppino Mangravite's Mosaic at the Workers' Chapel, St. Anthony's Shrine Boston, Massachusetts USA