Loeb Danish Ardt Collection - page 191

   ‒    
  .
Interior with a Woman Standing
(Interiør med stående kvinde)
Oil on canvas,
½ x
½ in. (
       :
Winkel & Magnussen
; Bukowski’s, Stockholm, Auction
, lot
; Christie’s, London
; Codan Insurance; Sotheby’s London, The Scandinavian Sale, June
, 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.
         :
Sophus Michaëlis and Alfred Bramsen:
Vilhelm Hammershøi, Kunstneren og hans Værk
, Copenhagen
, no.
(described as:
); Robert Egevang (ed.):
Historiske huse på Christianshavn
, Copenhagen
; Susanne Meyer-Abich,
Hammershøi. Das malerische Werk,
Inauguraldissertation, Ruhr-Universität, Bochum
; on the motif: Lena Boëthius,
Görel Cavalli-Björkman (eds.):
Vilhelm Hammershøi
, Göteborgs konstmuseum
, no.
; Bente Scavenius and Jens Lindhe:
Hammerhøis København
, Copenhagen
, p.
fter living for some years in Bredgade, the Hammershøi family moved back to Strandgade in the Chris-
tianshavn district of Copenhagen, this time to no.
on the west side of the street, opposite his old
apartment at no.
. This big house was built
as offices and meeting rooms for Asiatisk Kompagni (a
trading company doing business with Asia, mostly India and China) and at the end of the
’s it was
restored for the use of the Danish Ministry of Foreign Affairs. Its late baroque façade with dark red bricks
and sandstone ornamentation, and its huge mansard roof are well known from several paintings by Ham-
mershøi from about
(e.g. in Statens Museum for Kunst). The tall windows in the bel étage where Ham-
mershøi and Ida lived are characteristically divided in the same way as those on the courtyard side in the old
apartment at no.
. This is seen in the painting
The Four Rooms
(Ordrupgaard Collection). In the
new apartment the height of the rooms from floor to ceiling was higher, and the light effects thus produced
inspired the artist.
During the few years Hammershøi still had left, he painted a series of interiors from this beautiful apart-
ment. This painting shows two rooms linked by a jib door.
In the farthest room we can see a closed door,
which is beautifully moulded, as are the doorframe and the low dados in the rooms. In the window niche
in the next room, Ida is standing with her back to us close to a small table. The walls are grey and are
adorned only by a single small, framed picture in each of the rooms. We see only the edge of the jib door,
which takes up as little room as possible in the picture.
We know from other Strandgade
paintings that there were in reality four rooms opening one upon
the other when seen from the spot where the artist had his easel. An example is the Ordrupgaard Collec-
The Four Rooms
, in which all the doors are open, and where the old floors with the broad
floorboards fill much of the painting. Here in the nearest room we see a washstand and mirror, and in the
next one a Windsor chair also familiar from other paintings.
The painting in the Loeb collection is thus a typical example of Hammershøi’s interiors, where he con-
stantly varies his simple motifs by changing the furnishings, as well as pictures hanging there and by show-
ing us a sometimes narrow and sometimes broad section of the reality of his home. In the exhibition
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