Loeb Danish Ardt Collection - page 160

Belgian Fernand Khnop
ff
(


). Meanwhile it would
fi
t well if it were possible to demonstrate
that he was interested in the landscapes of Arnold Böcklin (


), which in the Scandinavia of
that day, awoke the greatest interest in Sweden. Thereby a palpable link would be created via Friedrich
Nietzsche (


) with so-called metaphysical painting of Giorgio de Chirico (


) and the
Surrealists. This potential interpretation, however, is rejected by Poul Vad (

). Meanwhile, it
remains an open question whether the metaphysical dimension in Hammershøi’s work was inten-
tional or unconscious.
In his day, Hammershøi was among the Danish artists who were known abroad, partly through
the e
ff
orts of his patron, the dentist Alfred Bramsen (


). It is also well known that the German
poet Rainer Maria Rilke (


) took a great interest in him. Hammershøi was never forgotten by
a later generation and was included in the

Paris exhibition
Les sources du XX siècle
. But it is
true that he was “rediscovered” in the

’s when Roald Nasgaard and Kirk Varnadoe became inter-
ested in Scandinavian Symbolism. The result of this was the mounting of major exhibitions on the
subject in Europe and the United States, whereby transatlantic cultural links were re-established. An
enthusiastic international interest arose in Vilhelm Hammershøi, whose work attracted great atten-
tion in exhibitions in the United States in

and

.
E.F.
         :
Hanne Finsen, Inge Vibeke Raaschou-Nielsen (eds.),
Vilhelm Hammershøi, Painter of Stillness and Light, A Retrospective Exhibi-
tion,
Wildenstein, New York and the Philips Collection, Washington,

(texts by Thorkild Hansen, Harald Olsen; partly based upon the cat-
alogue published for the exhibition
Vilhelm Hammershøi, En retrospektiv udstilling
at the Ordrupgaard Collection in Copenhagen,

); Poul Vad,
Vilhelm Hammershøi, værk og liv,
Copenhagen

; Poul Vad,
Hammershøi and Danish Art at the Turn of the Century,
New Haven and London

(English edition of his book from

); Erik Brodersen in:
Weilbach,
Vol.
, Copenhagen

; Susanne Meyer-Abich,
Vilhelm Hammershøi. Das
malerische Werk
, Inauguraldissertation, Ruhr-Universität, Bochum

; Anne-Birgitte Fonsmark, Mikael Wivel (eds.),
Vilhelm Hammershøi,


, Danish Painter of Solitude and Light,
exhibition catalogue, Ordrupgaard, Copenhagen,

, Musée d’Orsay, Paris,

, Solomon R.
Guggenheim Museum, New York

(texts by Poul Vad, Robert Rosenblum); Bente Scavenius and Jens Lindhe,
Hammershøis København,
Copenhagen

; Felix Krämer, Kasper Monrad, Barbara Ludwig,
Vilhelm Hammershøi,
Hamburger Kunsthalle

(in German); Patricia G.
Berman,
In Another Light, Danish Painting in the Nineteenth Century
, New York

, p.
-
; Felix Krämer et al. (eds.), Hammershøi, Royal
Academy of Arts, London

; Kasper Monrad (ed.),
Hammershøi and Europe
, Statens Museum for Kunst, Copenhagen

; Kasper Monrad
(ed.),
Vilhelm Hammershøi, Masterworks from SMK, the National Gallery of Denmark
, Copenhagen

.
¹
En Strømændring in:
Tilskueren
, pp.


.
²
Karl Madsen, Vilh. Hammershøi in:
Kunst
, Vol. I,

.
³
One of a group of writers and artists who concern themselves with general truths instead of actualities, exalt the metaphysical and the mys-
terious, and aim to unify and blend the arts and the function of the senses.

]
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