Loeb Danish Ardt Collection - page 177


.
Interior of Woman Placing Branches in Vase on Table,

(Interiør med kvinde, der stiller grene i et glas, Strandgade 30)
Oil on canvas,
¾
x
¾
in. (

x

cm)
Signed with initials lower right: VH
       :
The English concert pianist Leonard Borwick, London; Bruun Rasmussen, Auction

,

, lot

.
         :
Busch-Reisinger Museum, Harvard University Art Museums,
Danish Paintings of the Nineteenth Century from the Col-
lection of Ambassador John L. Loeb, Jr.,

, no.
; Bruce Museum of Art and Science, Greenwich, Connecticut and The Frances
Lehman Loeb Art Center, Vassar College, New York,
Danish Paintings of the Nineteenth Century from the Collection of Ambassador
John L. Loeb, Jr.
,

, no.

, ill.; Tokyo, Museum of Western Art,
Vilhelm Hammershøi, the
no.

, ill.; New York, Scandinavia
House,
Luminous Modernism, Scandinavian Art comes to America. A Centennial Retrospective


,
‒
; 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.

; Ordrupgaard, Copenhagen,
At Home With Hammershøi
,

, ill. p.

.
         :
Sophus Michaëlis and Alfred Bramsen,
Vilhelm Hammershøi, Kunstneren og hans Værk,
Copenhagen

, no.

(described as:
Stue)
; Poul Vad,
Hammershøi, værk og liv,
Copenhagen

, p.

, ill. (English edition

); Peter Nisbet,
Danish
Paintings of the Nineteenth Century from the Collection of Ambassador John L. Loeb, Jr.,
Busch-Reisinger Museum, Harvard University,
Cambridge, Massachusetts

, p.

, ill.; Susanne Meyer-Abich,
Vilhelm Hammershøi. Das malerische Werk
, Inauguraldissertation,
Ruhr-Universität, Bochum

, no.

(described as:
Interieur mit einer Frau, die Zweige in eine Vase stellt. Strandgade

); Elisabeth
Fabritius, Vejen ud af fotograWets perspektiviske rum
,
in: Ingrid Fischer Jonge and Gertrud With (eds.),
Verden set på ny, Fotogra
fi
og malerkunst


,
Det Nationale Fotomuseum, Det Kongelige Bibliotek

, pp.


; Gertrud Oelsner, “Photographic
Strategies, Perceptual Reflections and Introvert Tendencies in Painting around

” in:
Statens Museum for Kunst Journal

, Vol.
, pp.
‒
; Patricia G. Berman, “Lines of Solitude, Circles of Alliance,
Danish Painting in the Nineteenth Century” in: Danish Paint-
ings of the Nineteenth Century from the Collection of Ambassador John L. Loeb, Jr.
, Bruce Museum

, p.

; Anne Rosenvold Hvidt,
“The strange Thing about Hammershøi” in:
Hammershøi/Dreyer: The Magic og Images
, Ordrupgaard, Copenhagen

, pp.
‒
;
Patricia G. Berman,
In Another Light, Danish Painting in the Nineteenth Century
, New York

, pp.
‒
, ill. p.

; Patricia G.
Berman,
Luminous Modernism
, New York

, p.

, ill. p.

; Felix Krämer, “Interiors, Strandgade

” in: Anne Birgitte Fonsmark
(ed.),
At Home With Hammershøi
, Ordrupgaard, Copenhagen

, pp.
‒
.
I
n

, Hammershøi moved into a
fi
rst-
fl
oor apartment at no.

Strandgade in the Christianshavn area
of Copenhagen. It was here that such a signi
fi
cant number of his interiors was created that they are con-
sidered the most typical of Hammershøi’s works in that genre. The house, built on two tall
fl
oors, dates
back to the

th century and is one of the oldest in this district. The living rooms overlook Strandgade and
face northwest. Opposite are the splendid

th-century buildings of the Asiatic Company, which Hammer-
shøi also painted, and which today house parts of the Danish Ministry of Foreign A
ff
airs.
In the apartment, the rooms, proportions and lighting are thus from the

th century, while the pan-
elling on the walls, the doors and the contoured door frames date from the

th century. It is an exquisite
example of Copenhagen architecture, and with the strikingly dominant aesthetic feeling that was charac-
teristic of Hammershøi it is understandable that its simple beauty was su
ffi
cient in itself to serve him as a
source of inspiration over such a lengthy period. The light in Scandinavia varies enormously over the year:
short days in the winter and long days in the summer accompanied by many hours of twilight during the
middle of summer. Hammershøi’s rooms overlooking the street are in shadow until the afternoon, and
only in the summer months does the sun enter directly. Similar lighting conditions were, incidentally, to be
found in the house of Dutch painter Vermeer van Delft (


).
So the apartment provided Hammershøi with the best circumstances for painting a rich variety of inte-
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