Loeb Danish Ardt Collection - page 198

framed pieces of art on the walls have been left out.
The same chair recurs in the painting
The Four Rooms (De fire rum)
, owned by the Ordrupgaard Collec-
tion (Fig. B), and in which all three doors are open. It was painted the year after (

) from a position fur-
ther to the left, so that it is the right side of the doorframes in the three consecutive parlors one can see. The
Windsor chair is still situated in parlor number
, but this time to the right of the door into parlor number
, and seen from the front. The exact same angle is also found Hammershøi’s final painting from

, where
Ida is seen sitting in the first parlor with a needlework (Fig. C). She sits by a table on which a coffee cup and
a coffeepot are standing. Without altering his position as seen in the
The Four Rooms (De fire rum)
, the
painter has effortlessly added to the painting a table, the figure of Ida and in the front on the left also a chair.
In the parlor furthest to the back, one can see the Empire-style sofa known from other paintings by Ham-
mershøi.
The light is brighter in
Interior with Windsor Chair
than in the other paintings. It comes from the tall win-
dows found in the sequence of parlors. They cannot be seen in the paintings; only the long, bright curtains
are softly sketched. The perspective is similar in all four interior pictures, and the vanishing point is so high
that the painter must have been standing when deciding on the angle on the section of the interior that he
wanted to paint. According to Alfred Bramsen (

), this painting was not completed.
E. F.

]
FIG. A
Interior with a Woman Standing
(

)
Oil on canvas,
½  ½
in. (
.  .
cm)
Loeb Collection no.

. Bramsen

no.

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