Loeb Danish Ardt Collection - page 185

VILHELM HAMMERSHØI
   ‒    
 .
The Church of St. Peter, Copenhagen
(c.

)
(Petri Kirke set fra Larslejstræde, København)
Oil on canvas,
¾
x
¼
in. (

x

.
cm)
Signed bottom left: VH
       :
Dr. Bøcher (Carl Christian or his son Einar); Grosserer Sophus Iversen; Kunstforeningen, Copenhagen, Auction
.
.

(Sophus Iversen), lot

; O. Dessau prior to

; Bruun Rasmussen, Auction

,

, lot

, ill.; Sotheby’s London
.
.

, lot

, ill.
         :
Liljevalchs Konsthal, Stockholm,
Nyere dansk kunst,

, 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.; London, Royal Academy of Art,
Vilhelm Hammershøi, the Poetry of
Silence
,

, no.

, ill.; Tokyo, Museum of Western Art,
Vilhelm Hammershøi, the Poetry of Silence
,

, no.

, ill.; New York,
Scandinavia House,
Luminous Modernism, Scandinavian Art comes to America. A Centennial Retrospective


,


.
         :
Sophus Michaëlis and Alfred Bramsen,
Vilhelm Hammershøi, Kunstneren og hans Værk
, Copenhagen

, no.

(described as:
Petri Kirke, Forstudie til Nr.

); William Ritter,
La peinture en (sic!) Danemark, Vilhelm Hammershøi
in:
L’art et les artistes
,
[pre-

], ill. p.

; Poul Vad,
Vilhelm Hammershøi
, Copenhagen

, p.

(discussion of the motif ) (English edition

);
Susanne Meyer-Abich,
Vilhelm Hammershøi. Das malerische Werk
, Inauguraldissertation, Ruhr-Universität, Bochum

, no.

(described as:
Petrikirche. Skizze)
; Elisabeth Fabritius, Vejen ud af fotograWets perspektivske rum
,
in: Ingrid Fischer Jonge and
Gertrud With (eds.),
Verden set på ny,
Det Nationale Fotomuseum, Det Kongelige Bibliotek

, p.

; 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.

; Patricia G. Berman,
In Another Light, Danish Painting in the Nine-
teenth Century
, New York

, p.

, ill. p.

; Patricia G. Berman,
Luminous Modernism, Scandinavian Art comes to America
, New
York

, p.

, ill. p.

,

.
T
he Danish capital of Copenhagen is famous as the city of towers, and the churches in the oldest cen-
tral part of the city have since the Middle Ages been adorned with towers of the kinds that were com-
mon throughout Northwestern Europe. The robust architectonic shapes and the sculptural tower that
make up this motif are, together with the narrow scale of colour ranging from reddish brown to grey, typ-
ical of Hammershøi. He had previously found similar motifs in the

th- and

th-century royal castles of
North Zealand.
In

he painted a view of Frederiksborg Castle at Hillerød and in

one of Kronborg Castle at Elsi-
nore. Hammershøi was deeply conscious of the inheritance from the Golden Age and in his choice of sub-
jects acknowledges painters such as Christen Købke and P.C. Skovgaard. In the

’s, they had chosen to
concentrate on the characteristic turrets of the castles, while Hammershøi here prefers to emphasise the
contrast between the turrets and other structures, in several cases the surrounding walls with their large
fl
at
surfaces. As in the paintings of interiors, it is the lines in the motif that have interested him. Hammershøi
was in his day criticised for his immaterial quality, and neither is this picture meticulously painted in a tra-
ditional sense. But he chose this technique quite consciously because it allowed him to reproduce the hazy
nuances of an overcast day, which are so characteristic of the Danish winter.
The Church of St. Peter dates back to the Middle Ages, but it was extended several times after King
Frederik II put it at the disposal of the city’s German Lutheran congregation in

. The tower is seen in
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