Loeb Danish Ardt Collection - page 218

PETER ILSTED
   ‒    
 .
Mother and Child,

(Interiør fra et
fi
skerhjem i Hornbæk)
Oil on canvas,
½
x
⅔
in. (

x

cm)
Signed and dated lower right: Peter Ilsted

       :
The collection of Prince Georg and Princess Anne of Denmark; Bruun Rasmussen, Auction

, Part
,

,
lot

, ill. p.

(described as:
Interiør med moder
).
         :
Charlottenborg

, 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.; 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.

.
         :
S. Clod. Svensson, Peter Ilsted og Sortekunsten, in:
Samleren,

, p.


,
En Fiskerstue i Hornbæk
,

(mez-
zotint black-and-white after the motif ); Theodore B. Donson,
Peter Ilsted, Sunshine and Silent Rooms,
New York

, no.

,
Fisherman’s Room in Hornbæk
, mezzotint in colors,

(O/S

),
⅓
x
¾
in. (

.
x

cm);
⅜
x
¾
in. signed in pencil, ill.;
Patricia G. Berman,
In Another Light, Danish Painting in the Nineteenth Century
, New York

, p.

, ill. p.

.
O
ver the span of his long career, Peter Ilsted returned most frequently to his favorite subject: interior
domestic scenes with tranquil women framed by walls, windows, and sparse furnishings such as the
stove, wooden dowry chest, and woven baby basket we see here.
Ilsted draws us into this modest home of a
fi
sherman and his wife with tenderness as he captures a
mother gazing serenely at her plump, contented baby. We are aware that it is summertime, with greenery
visible just outside the window, as well as a sailboat and the ocean on the horizon, but ultimately it is the
simplicity of the interior composition, the wonderful texture of the family’s humble furnishings, and the
play of light in the room that keep us returning for yet another infusion of Danish quietude.
This piece in the Loeb collection is unusual, for it is one of only a very few oil versions compared to the
many etchings and mezzotints of domestic interiors for which Ilsted is best known. Not too surprisingly,
this particularly gentle scene was painted the very year (

) that Ilsted married Ingeborg Petersen.
It is worth noting that he was one of three contemporaneous Nordic artists who consistently chose
interior scenes as favorite subjects, the other two being Carl Holsøe and Ilsted’s brother-in-law, Vilhelm
Hammershøi, who married his sister Ida in

, the year before Ilsted’s own marriage.
The Ilsted and Holsøe styles of painting interiors, however, are markedly di
ff
erent from that of Ham-
mershøi. Whereas Ilsted and Holsøe works are warm and inviting, Hammershøi’s are formal and austere.
Though di
ff
erences exist in their styles, art scholars observe that Ilsted’s artistry was in
fl
uenced by his
brother-in-law, Hammershøi, and that the interior studies produced by all three are reminiscent of work
done by Dutch painters in the

th century.
These three artists are all represented in the Loeb collection; all three enjoy a revitalized interest among
today’s collectors.
B.H.

]
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