Loeb Danish Ardt Collection - page 213

CARL HOLSØE
   ‒    
 .
Artist’s Wife Setting Table
(Kunstnerens hustru dækker bordet)
Oil on canvas,
¾
x
½
in. (

x

cm)
Signed lower right: C. Holsøe
       :
Bruun Rasmussen, Auction

,

, lot

, ill. p.

and cover.
         :
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.

.
         :
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.
         :
Patricia G. Berman,
In Another Light, Danish Painting in the Nineteenth Century
, New York

, p.

, ill. p.

.
T
he charm of soft indirect light in an interior household setting never failed to intrigue Carl Holsøe
throughout his long career of depicting domestic tranquility. Here we have an example of his ability to
capture the play of light and use it to illuminate indirectly the subject of his painting, Mrs. Holsøe.
We see Holsøe’s wife, Emily Heise, his favorite and most frequent model, setting the table sometime
after

in their minimally furnished dining room in Lyngby, Copenhagen. “Less is more” was a decorat-
ing choice typical of well-to-do homeowners at the turn of the century in Denmark. That choice is epito-
mized here by the couple’s two handsome mahogany chairs, corner cupboard and side-table, a softly
sparkling Swedish crystal chandelier, glowing white porcelain plates above the doorway, and a woven pas-
tel rug, the colors of which echo the pinks and muted greens in the
fl
ower vase. Though few in number,
the objects in the room are tasteful, and placed with an artist’s eye for composition.
The linen tablecloth, illuminated by summer light
fi
ltered through white muslin curtains, is the focal
point of the painting; nevertheless, though she is more dimly lit, Holsøe has made sure we are mindful of
how important the woman is to the composition.
The Artist’s Wife Setting the Table
, gives evidence that Holsøe was a master of the interior setting, as do
his many studies of women such as
Reading by Window, Standing by Window, Sewing by Chair,
and
Woman
Standing near Cello
, which hang in national collections throughout Scandinavia.
B.H.
[

1...,203,204,205,206,207,208,209,210,211,212 214,215,216,217,218,219,220,221,222,223,...533
Powered by FlippingBook