Loeb Danish Ardt Collection - page 182

VILHELM HAMMERSHØI
   ‒    
 .
Courtyard Interior at Strandgade

(c.

)
(Gårdinteriør. Strandgade

)
Oil on canvas, mounted on panel,
½
x
¾
in. (

x

cm)
Signed with initials lower left: VH
       :
The collection of Grosserer William Bendix, Copenhagen; Winkel & Magnussen, Auction

,

, lot

, ill.
p.

; Overlæge G. Espersen, Thisted; Bruun Rasmussen, Auction

,

, lot

, ill. p.

.
         :
Den Frie Udstilling

, nr.

; Busch-Reisinger Museum, Harvard University Art Museums,
Danish Paintings of the
Nineteenth Century from the Collection of Ambassador John L. Loeb, Jr.,

, no.
; Ordrupgaard, Copenhagen, Museé D’Orsay, Paris,
Solomon R. Guggenheim Museum, New York,
Vilhelm Hammershøi
,


, no.

; Bruce Museum of Art and Science, Green-
wich, Connecticut and The Frances Lehman Loeb Art Center, Vassar College, New York,
Danish Paintings of the Nineteenth Cen-
tury from the Collection of Ambassador John L. Loeb, Jr.
,

, 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.

.
         :
Winkel & Magnussens (ed.),
Vilhelm Hammershøi
, Copenhagen (

), no.
; V. Jastrau (ed.),
Vilhelm Hammershøi
,
Smaa Kunstbøger, no.

, Copenhagen

, ill. p.

; Sophus Michaëlis and Alfred Bramsen,
Vilhelm Hammershøi, Kunstneren og hans
Værk
, Copenhagen.

, no.

. ill. (described as:
Gaard-Interiør)
; Haavard Rostrup, Om Vilhelm Hammershøis Kunst in:
Kunst
og Kultur,
Årg.

, Oslo

, ill. p.

; Winkel & Magnussen (eds.),
Kunst i Privat Eje,
I-III. Copenhagen


, Vol. III, p.

, ill.
(described as:
Et Hjørne af Mikkel Vibes Gaard)
; Poul Vad,
Hammershøi, værk og liv
, Copenhagen,

, ill. p.

(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 p.

; Susanne Meyer-Abich,
Vilhelm Hammershøi. Das malerische Werk
,
Inauguraldissertation, Ruhr-Universität, Bochum

, no.

(described as:
Innenhof. Strandgade

); Patricia G. Berman, “Lines
of Solitude, Circles of Alliance, Danish Painting in the Nineteenth Century” in:
Danish Paintings of the Nineteenth Century from the
Collection of Ambassador John L. Loeb, Jr.
, Bruce Museum

, p.

; Anne-Birgitte Fonsmark, Henri Loyrette and Mikael Wivel,
Vilhelm Hammershøi,
Ordrupgaard, Copenhagen

, p.

, ill. p.

(English edition); Patricia G. Berman,
In Another Light, Dan-
ish Painting in the Nineteenth Century
, New York

, p.
‒
, ill. p.

; Patricia G. Berman, Luminous Modernism, New York

, p.

, ill. p.

.
T
his motif with the large number of windows was painted in the artist’s apartment in Strandgade

.
Towards the courtyard at the rear, the building has been extended with two wings; these are connected
by a closed external gallery with windows covering the original façade and cutting o
ff
the view of the
fl
oor
below. This is seen on the right of the picture, while the windows on the left overlook the south wing, here
furnishing the entrance to the apartment. The scene has been painted from the north wing opposite from
the window where Hammershøi painted
Dust Motes Dancing in Sunlight
in

. The gallery seen from the
dark inside room has also served as a motif. Although the picture appears to have been painted only in
brown and shades of greyish black, it also contains areas in blue. It provides a splendid statement of the
building’s architecture, the skewed windows and the half-timbered construction that can be glimpsed
behind the layer of plaster beneath the windows.
The woman standing at the open window and wearing a scarf around her head has many predecessors
in Dutch painting, and yet the painting provides a striking impression of old Copenhagen. There is yet
another version of this motif (Bramsen & Michaëlis no

, which in

belonged to Thorsten Laurin in

]
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