Loeb Danish Ardt Collection - page 215

CARL HOLSØE
   ‒    
  .
Interior with woman seen from behind
(after

)
(Interiør med kvinde set bagfra)
Oil on canvas,

x
⅓
in. (

x

cm)
Signed bottom right: C. Holsøe
       :
Arne Bruun Rasmussen, Auction

,

, lot

, ill. p.

; Bruun Rasmussen, Auction

,

, lot

, ill.
W
e see a living roomwith white walls, where a young woman sits by a square piano. She is seen aslant
from the back, with her head gracefully bent over a leaf that she beholds. The painter has especially
meticulously accounted for her beautiful, white neck, which illuminates the picture, accentuated by her
dark up-done hair and black dress, slightly low cut in the back. At her right, a cello leans against the piano
in a posture that almost makes it resemble another person.
The room is very bright and airy, and seemingly with a great height to the ceiling. Behind the painter,
there is a small, paned window, reflected in the glass above two pieces of art in gold frames that hang at the
rear wall. They are flanked by two smaller pieces of art, also in gold frames. Outside the frame, to the left,
there is another window, from which the sun shines on the female figure and on the edge of the gold
frames. The white rear wall is parallel to the plane of the picture, which gives the picture a sense of tran-
quility and at the same time highlights the individual figures and pieces of furniture.
Holsøe was a good friend of Vilhelm Hammershøi, and like him, was especially occupied by the inte-
rior painting, inspired by Dutch

th century art. They both preferred to paint bright rooms, furnished with
fine, well kept, bourgeois pieces of furniture. In work method, the two artists are alike as well. When com-
paring Holsøe’s paintings, one can see how the square piano and other mahogany furniture pieces, along
with other paintings and ornaments reappear in ever-new constellations. The female figure with her back
turned, likewise inspired by the golden century of the Netherlands, was Holsøe’s preferred motif; his art dis-
plays many more examples of this than does that of Hammershøi.
Carl Holsøe did not date his pictures, which makes it hard to establish the time of their creation. In
other of his interior paintings where the window type in this painting occurs, there is a view of green areas.
Interior with woman seen from behind
must therefore be considered to have been painted after Holsøe moved
from Copenhagen shortly after

to more rural surroundings north of the capital, first Charlottenlund,
and after that, Bondebyen (“the Peasants’ Town” quarter) in Lyngby.
E.F.
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