Loeb Danish Ardt Collection - page 167

VILHELM HAMMERSHØI
   ‒    
 .
Study of standing woman, seen from behind
(

/

)
(Studie af stående kvinde, set bagfra)
Oil on canvas,

x
¾
in. (

x

cm)
       :
Arne Bruun Rasmussen, Auction

,

, lot

, ill.; Bruun Rasmussen, Auction

,

, lot

, ill.
         :
Scandinavia House, New York,
Danish Paintings from the Golden Age to the Modern Breakthrough, Selections from the
Collection of Ambassador John L. Loeb Jr.
,

, no.

.
        
(concerning the motif ): Sophus Michaëlis and Alfred Bramsen,
Vilhelm Hammershøi, Kunstneren og hans Værk
,
Copenhagen

, no.

(described as:
En ung Pige som hælder af en Kande
), the present painting is not in the oeuvre catalogue;
Poul Vad,
Hammershøi, værk og liv
, Copenhagen

(English edition

); Patricia G. Berman,
In Another Light, Danish Painting
in the Nineteenth Century
, New York

, p.

, ill. p.

.
A
woman seen from behind is a motif that Vilhelm Hammershøi painted in his early youth and to
which he returned in variations throughout his life. It is a familiar motif in

th-century Dutch paint-
ing and was popular among other Danish artists, such as Anna Ancher and Viggo Johansen (


) dur-
ing the

’s.
This little study shows a fairly robust woman with reddish hair standing with her head bent, wearing a
black dress with sleeves rolled up and a white apron, seen indoors obliquely from behind by daylight. To the
right of her a wooden table is sketched in, though it is not continued on her left. Her pose suggests she is
concentrating on some manual task. The study is fairly monochromatic, but there are shades of blue and
brown in the black dress and delicate suggestions of bright daylight on the model’s neck and arms and on
her apron.
This study is not found in any of the published catalogues of Hammershøi’s work, but it is closely
related to several well-known paintings. The motif is identical to the central elements in a rather larger
study (

x

in. or

.
x

.
cm). In Alfred Bramsen’s catalogue from

, this is listed as number

and
in

it was bought by Statens Museum for Kunst (Fig. A). It appears to be of the same woman, seen from
the same angle and in the same light. More is included of the table on the right, in addition to which the
top of a light chair in which the daylight is re
fl
ected can be seen on the far edge. It also contains more of
the room in which the woman is standing, and on the far left there is the hint of a corner.
Bramsen considers study no.

to be a preparatory work for the painting entitled
From a Baker’s Shop
(Vejen Kunstmuseum, no.

in Bramsen’s list, Fig. B). Despite the dimensions
⁹⁄₁₀
x
⁴⁄₅
in. (

x

cm),
Bramsen calls this a study and dates it to

. In this painting we see a dark-haired, rather hefty woman in
a black dress with long sleeves and a white apron; she is viewed directly from behind, not obliquely. So apart
from the colour of her hair, the model is similar to the woman used by the artist in the Loeb collection
study and in the above-mentioned no.

.
However, when it comes to composition, the Loeb collection study is rather more like a di
ff
erent and
earlier painting,
Living Room, A Young Girl Pouring Tea
, where Hammershøi’s mother is sitting on the right,
and which despite its
fi
nished state is quite small,

x
³⁄₅
in. or

x

cm (Bramsen’s catalogue, no.

, pri-
vate collection, Fig. C). And also the more un
fi
nished
A Young Girl, Pouring from a Pot
, which Bramsen calls
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