Vilhelm Hammershøi (1864-1916) was a Danish painter known for his low-key atmospheres and his very limited palette of grey tones and mostly desaturated hues used to depict architecture, landscapes and portraits. However the artist is mostly celebrated for his interiors, enfilades, contrejours...
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En espagnol Après l’exposition de 1997/98 au Musée d’Orsay (72 toiles du peintre), le Musée Jacquemart-André proposait (c’est fini) une exposition sur le peintre danois Vilhelm Ha…
Definito “il poeta del silenzio”, VILHELM HAMMERSHØI è uno degli enigmi più misteriosi e affascinanti della storia dell’arte.
Vilhelm Hammershøi : Interior with Young Woman Seen from the Back (1904) Canvas Gallery Wrapped Giclee Wall Art Print (D6050) Types: ➤Archival Paper Print (rolled) ➤Canvas Print, Gallery wrapped (mirrored edges) on 2cm depth pine wooden frame (stretched), rolled in a tube, or framed (wood floater frame). Options: ➤Archival Paper Print (rolled) ➤Rolled Canvas Print ➤Stretched and Ready to Hang 1 Panel Canvas Print ➤Stretched and Ready to Hang 3 Panel Canvas Print ➤Canvas in Black, Brown or White Wood Floating Frame (2'' | 5cm thick) ★★★WHAT'S THE DIFFERENCE BETWEEN A ROLLED CANVAS PRINT AND AN ARCHIVAL PAPER PRINT? ★★★ Whereas our canvas prints come with that typical characteristic texture own to canvas, our archival paper prints come on cotton rag paper without texture. A rolled canvas print is normally stretched on wood stretcher bars, whereas archival paper prints are not. Additionally, a stretched canvas can be framed, but it doesn't need to be. Thus, our rolled canvas prints come in their advertized size + mirrored edges by default for easy stretching. Prefer a cut to size rolled canvas print instead, because you want to frame it in a traditional fine art frame behind glass? Then just type ''cut to size'' in our personalization box (listing top right ''add your personalization''). Note that our rolled canvas prints do not come with stretcher bars or frames. Either take it to your local framer, or stretch/frame it yourself. Other sizes than listed in our drop-down menu available upon request! Have something in mind that you don't see in our shop? Anything at all? We've got your back! Here you can order anything you'd like: https://www.etsy.com/listing/1528183805 Our high quality images are environmentally friendly printed on museum grade canvas, with high quality inks that will last for over 200 years. Our canvas prints are odorless and stable to UV-radiation. Please note that our standard processing time is 3-5 days. Our actual canvases may slightly differ from the pictures shown, as every item that we sell is created especially for you. Our canvas prints actually look BETTER in real life. Please note: all watermarks shown will not be seen on the actual product. **All images and advertized text courtesy of VNTGARTGallery. Text and photos may not be used without written permission.**
Mort en 1916, l'artiste avait connu une première rétrospective triomphale à Orsay en 1997. Il y a ici l'essentiel, plus quelques toiles de peintres proches de lui.
Gothenburg Art Museum, Sweden
A profile of Danish painter Vilhelm Hammershøi based on a conversation with Statens Museum for Kunst Head Curator Kasper Monrad.
The Getty Museum has put on view Vilhelm Hammershøi's Interior with an Easel, Bredgade 25 (1912). It's a painting of an empty...
Célèbre pour ses tableaux d’intérieurs énigmatiques représentant des pièces souvent vides, parfois habitées Il peignit également des paysages, des portraits et des architectures qui baignent …
Vilhelm Hammershøi 1864-1916 Denemarken
J'ai découvert ce peintre danois grâce à Marie Sizun, l'auteure de la gouvernante suédoise. Elle a choisi une de ses peintures pour illustrer son dernier livre. Vilhelm Hammershoi, né à Co
In the upcoming 19th Century European Paintings auction on 6 June, Sotheby’s is privileged to bring to the market White Doors. Interior Strandgade 30 by Vilhelm Hammershøi. Never offered at auction before and unseen in public since its inclusion in the Hammershøi retrospective in New York and"u2026
London couturier Anna Valentine was a ballet dancer before becoming a designer. And with her former business partner, Antonia Robinson, she deftly made her
It has occurred to me during the process of researching this blog that quite a number of realist painters have portrayed women at one time or another from a rear viewpoint – often in a domestic situation. Danish artists like Anna Ancher, Vilhelm Hammershøi and Carl Holsøe frequently employed this device in their compositions. The female subject may at some small domestic labour, or simply being contemplative, gazing out onto some unseen vista. Here are some examples: 1822 Woman at the Window oil on canvas 44 x 73 cm 1880 Berthe Morisot The Dining Room of the Rouart Family, Avenue d'Eylau oil on canvas 92 x 73 cm c1880 Edgar Degas Mary Cassatt at the Louvre pastel 1882 Christian Krohg The Hair is Braided 1883 Anna Ancher Girl in Kitchen oil on canvas 87.7 x 68.5 cm 1885 Edgar Degas A Visit to the Museum c1885 Edgar Degas Three Women at the Races pastel 68.6 x 68.6 cm 1886 Berthe Morisot The Little Maid Servant oil on canvas 71 x 44 cm 1887 Anna Ancher Young Girl before a Lighted Lamp oil on canvas 1888 Vilhelm Hammershøi Peasant Reading oil on canvas 63.5 x 55.5 cm 1890 Vilhelm Hammershøi Bedroom 73 x 58 cm 1896 Henri de Toulouse-Lautrec Woman in a Corset chalk on paper 1899 Vilhelm Hammershøi Interior c1900 Carl Holsøe c1900 Carl Holsøe Girl Reading in a Sunlit Room 1905 Vilhelm Hammershøi Rest 49.5 x 46.5 cm c1910 Frederick Carl Frieseke The Birdcage oil on canvas 78.7 x 78.7 cm 1912-13 Frederick C. Frieseke Blue Interior oil on canvas 81.3 x 81.3 cm 1920 Henri Lebasque The Blue Robe oil on canvas 81 x 65 cm c1885 A Young Girl Arranging Flowers oil on canvas 56 x 41 cm Anna Ancher Girl in the Kitchen Anna Ancher Carl Holsøe Carl Holsøe The Artist's Wife Setting the Table oil on canvas 73 x 65 cm Carl Holsøe Mother and Child by a Window oil on canvas 78.7 x 76.2 cm Vilhelm Hammershøi Lady Reading in an Interior Anna Ancher Young Woman in Front of a Mirror Carl Holsøe Waiting by the Window Carl Holsøe A Lady Playing the Spinet Carl Holsøe A Lady Playing the Piano Carl Holsøe Lamplight Carl Holsøe The Artist's Wife in an Interior oil on board Carl Holsøe Clearing Away the Tray oil on canvas 74.6 x 67.6 cm Carl Holsøe Interior with the Artists'a Wife oil on canvas Carl Holsøe Afternoon Tea oil on canvas 40 x 29.2 cm
Vilhelm Hammershøi (Copenhagen, 1864 - 1916) Rest (1905) París (Museo D'Orsay)
Interior, Strandgade 30, 1901 The Danish artist created his own personal style, independent of the trends of the time. His work is confine...
“”He succeeded in granting the most concrete and most commonplace things - a half empty parlor, a chair, a chest of drawers, a sofa, a beautiful book, a wall with a small forlorn picture, a while door, a short hallway, dust dancing in sunbeams – a quality not of this world, a reflection of sublime existence. His highly intense nervous life, his acutely sensitive emotional being, flourished only in this world of extreme simplicity and silence, tones were what he loved and sought – the tones of stillness. He heard…stillness, and that was where he really existed.” – Julius Elias, 1916 Something curious about the paintings of Vilhelm Hammershoi is how our responses to them seem like Rorschach tests with art. We may find a a partial explanation in the words of fellow Dane, the philosopher Soren Kierkegaard (1813-1855): "We live life forward but understand it backward." Hammershoi 's interiors mesmerize the viewer through his consummate sense of organization but there is room for us to bring our interior lives to his paintings or bring his paintings home to our interiors We also bring modern preoccupations to bear on his work, finding abstraction in his seeming clarity and precision, and our relative unfamiliarity with Hammershoi's work in the context of Danish art with its considerable history. Most Danish art of the early 19th century, considered the Danish Golden Age, remains in Danish museums and has traveled infrequently. How we interpret the melancholy for the distance from that charmed period with Hammershoi's personal disposition is an open question still. Photographs of Ida Ilsted and Vilhelm Hammershoi, taken during their courtship, show another, pleasanter mood; no small distinction when both parties came from artistic families. Ida's brother Peter Ilsted also painted quiet interiors like Hammershoi's and Vilhelm's younger brother Svend (1879-1916) was both a painter and ceramicist. Where Hammershoi's self-portrait shows a serious, inward-focused young man, the photographer caught him with a twinkle in his eye, the kind of look that may have attracted Ida Ilsted. Some critics have speculated that there were mental difficulties in the Ilsted family to explain representations of Ida in Hammershoi's pictures, putting the onus on the sitter, while overlooking contemporary description of Hammershoi as "the first neurasthenic artist." The convention of posing a female model with her back to the viewer was an established formal convention in painting when Hammershoi employed it. Repose, for instance, painted in 1905 and often reproduced, strikes me as quite lovely, an affectionate rendering of Ida with her soft hair gathered in a chignon above the delicate skin of her neck . This photograph taken in 1898 1898 suggests a more sensual side to Ida than the artist usually allowed the viewer to see. The young boy pictured with them was their foster son Henry Madsen (1881-1921), possibly the son of art critic Karl Madsen, who is one of the guests in the photograph of the party at the Hammershois' Strandgade 30 apartment. Early in his career, Hammershoi moved beyond realism to a personal heightening of reality by arrangement and omission. Critics have noted anomalies, such as missing piano legs (in the painting at right) and Ida's missing foot. This painting is also unusual in showing us a view of the building across the street rather than an indeterminate space of reflected light. Light seems to dissolve the outer world in Hammershoi's otherwise controlled images, so what we get is something more like psychological realism rather than architectural verisimilitude. Emil Hannover wrote in 1907 of the successful Hammershoi exhibition at the van Wisselingh Gallery, London that the artist's interiors were "a silent protest against the gaudy and gaping tastelessness of our time." But the Victorian taste for the overstuffed had never been that popular in Scandinavia. In the photograph of a party at Strandgade 30 in 1899, the room is both less elaborate than a typical bourgeois parlor and more decorative than what Hammershoi chose to paint. (In the photo, Vilhelm is seated directly under the lamp at the left and Ida is seated at farthest right.) To look at photographs is to see what liberties Hammershoi took with furniture arrangements in his paintings. Modern eyes may have difficulty adjusting to the 19th century floor plans, as well. We are accustomed to houses and apartments designed as a group of rooms around a hallway, not to mention Freudian and Jungian symbolism with which we have invested interiors and the doors that separate them. Apartments in Christianhavn were typical of a much older arrangement, being a series of rooms that opened one into another: this made it easy to close off rooms to conserve heat in winter. Halls madee an additional expense as heating them was wasteful. An open door is often thought to be symbolic shorthand for hope. Closed doors, as the thinking goes, are symbolic of refusal, of finality. A closed door may also symbolize a break with the past. Carl Jung was rather heavy-handed in seeing doors as symbolically female, their doors opening one way - inwardly. Tp ancient Greeks doors often represented the separation of the past from the future. In a cheeky ripost the Shakespearean scholar Gary Taylor has called death "the one way walk through the door between culture and history." Doors have also been seen as symbols of refuge. In A Dictionary of Symbols, J.E. Cirlot makes an interesting observation about doors: "There is the same relationship between the temple-door and the altar as between the circumference and the centre; even though in each case the two component elements are the farthest apart, they are nonetheless, in a way, the closest since the one determines and reflects the other." Throughout their married life the Hammershois traveled often for extended periods, beginning with their six month honeymoon in Paris. Another trip to London and the Netherlands lasted from October 1897 to May 1898, with a brief return home for the holidays, and followed on the heels of the sale of two paintings to the Russian impresario Serge Diaghilev. Hammershoi was, in fact, enjoyed an international success never before accorded a Danish artist. The German painter Emil Nolde lived in Copenhagen for some time around 1900 and he found Hammershoi to be a quiet person. So did the poet Rainer Maria Rilke who visited in 1904 to collect material for a monograph on the artist that was never completed, unlike his 1903 publication Auguste Rodin. "Hammershoi is not one of those about whom one must speak quickly. His work is long and slow, and at whichever moment one apprehends it, it will speak of what is important and essential in art." - Rilke All of which brings me to the portrait of Ida, painted in 1907. It is hardly flattering, suggesting the losses of middle age - but whose exactly? The photographic evidence suggests that Ida was a pretty and spirited woman, and we know the couple moved in sophisticated company. Ida Hammershoi (1869-1949) had more than three decades left to live; not so Vilhelm, who died on February 13, 1916, after several months in hospital. The early signs of throat cancer had appeared around the time his mother Frederikke died in 1914. Hammershoi had been plagued by neuralgic back pain since 1906 and was periodically confined to bed, unable to paint. Images: Photographs from the collection of the Royal Library, Copenhagen. Paintings from: Musee d'Orsay, Paris. State Museum of Art, Copenhagen. Collection of her Royal Highness, Princess Benedickte, Copenhagen. Aarhus Kunstmuseum, Aarhus. Ordrupgaard Museum, Charlottenlund.
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Vilhelm Hammershoi 1864-1916 Copenhague Evening in the drawing room. The artist's mother and wife Soirée dans le salon. La mère et l'épouse de l'artiste 1891 Copenhague Statens Museum for Kunst UN ÂGE D'OR DE LA PEINTURE DANOISE ET EUROPÉENNE L'âge d'or de la peinture danoise se situe au 19è siècle. Deux périodes sont à distinguer. La première partie du siècle voit coexister les deux mêmes tendances que partout ailleurs en Europe une fois achevées les guerres de la révolution et de l'Empire français : Romantisme et Classicisme. Les thèmes sont ceux de l'époque, très divers, mais avec une tendance très nette à l'observation de la société danoise, les paysages du Danemark, et bien sûr de l'Italie. Ces deux tendances vont en fait perdurer tout le 19è siècle. La second partie du siècle est illustrée par l'Ecole de Skagen, une peinture souvent plus influencée par l'impressionnisme français et donc plus orientée vers la peinture de paysage. Une peinture qui développe plus les techniques de l'Art Moderne, esquisse, tachisme, peinture plate. La peinture de style romantique, classique ou réaliste continue cependant à exister pleinement. La grande attention portée à la vie quotidienne des populations est une caractéristique de cette peinture, qui la rapproche de l'art des Pays Bas protestants du siècle d'or, mais nous donne à apercevoir les moeurs et les modes de vie deux siècles après. Et bien sûr les marines. De 1830/1850 à 1940 environ, c'est en Europe la période de l'Art Moderne. Le 19è siècle et les toutes premières années du 20è, en Europe, se caractérisent en peinture par la très grande diversité des thèmes abordés par les peintres, dans un registre aussi bien profane que religieux. De même que par la grande diversité des techniques picturales, tantôt classiques, tantôt modernes, utilisées souvent simultanément. Cette période de la peinture européenne est multiple, comme en équilibre entre son riche passé et un avenir encore mal défini. Pendant tout ce siècle l'Europe n'obéit pas à une idéologie unique. Au contraire, des élites partisanes de doctrines très différentes, prétendent à la domination du continent, mais sans pouvoir s'imposer seules et exclure leurs rivaux. En peinture c'est un magnifique chant du cygne de l'Europe, qui se déploie dans un environnement politique totalement chaotique, marqué par des guerres absurdes et autodestructrices. Quand l'Europe se suicide politiquement, son art explose, une fois de plus, (une dernière fois ?) dans un festival de Beauté et d'Inventivité. Un Art très imaginatif, dont l'extraordinaire diversité, technique et thématique, est le reflet des tensions existantes entre les différentes composantes de la culture européenne, les différentes croyances alors encore vivantes dans cette fin de l'Europe : - Les croyances traditionnelles héritées des valeurs du passé de l'Europe, qui sont encore très actives dans le peuple, et aussi dans une partie de l'élite économique, idéologique et politique. Dieu, la Religion, les Devoirs, Ordre, Tradition, Travail, Famille, Patrie ... - Les croyances nouvelles, revendiquant les idées conçues par la nouvelle idéologie montante, la nouvelle religion pour tous les Hommes, celle des Lumières : Révolution, Science, Progrès, Homme, Démocratie, les Droits, Bonheur, Modernité....De nouvelles valeurs très influentes dans une autre partie de l'élite économique, idéologique et politique de l'Europe. Cette diversité des croyances en des valeurs différentes et même totalement opposées est l'explication de ce double constat : En politique des affrontements incessants et meurtriers, jusqu'aux génocides à répétition. En peinture, l'Art Moderne, ce sont des inventions remarquables : Une esthétique renouvelée par l'observation des arts du passé de l'Europe : byzantins, romans et gothiques. La peinture plate de ces "temps obscurs" a en réalité inspiré toute la peinture de l'Art Moderne. Mais d'autres approches du Beau ont été développées : l'esquisse, le tachisme.... et une nouveauté absolue apparaît, du moins en Europe: l'Art Abstrait. En Europe, parce que dans le domaine de l'art abstrait, la Chine nous avait précédé, de très loin. Les artistes bénéficient de cette situation de concurrence idéologique : ils y gagnent la liberté de peindre selon leurs goûts et leurs idées propres. Ils ne sont pas contraints d'obéir aux injonctions d'institutions officielles ou dominantes. En France la résistance de l'Académie à la peinture impressionniste n'a duré que quelques années. Le 19è siècle est très certainement dans toute l'histoire de la peinture européenne le siècle où les artistes ont jouit de la plus grande liberté. La peinture officielle, académique, idéologiquement monolithique et totalitaire ne renaîtra qu'à partir des années 1950 et suivantes, en provenance de New York, où elle était apparue dans les années 1920 et suivantes. C'est l'Art Contemporain, un art qui se veut à vocation internationale, mondialiste. Cet art a deux aspects, indissociables et complémentaires, celui étatique, il est omniprésent dans les musées d'art contemporain, et celui privé, pour lequel s'est mis en place un marché international. Les artistes libres se réfugieront alors dans l'art commercial privé et l'art des rues, des manifestations artistiques à caractère beaucoup plus régional et local. A GOLDEN AGE OF DANISH AND EUROPEAN PAINTING The golden age of Danish painting is in the 19th century. Two periods are to be distinguished. The first half of the century saw the two same trends coexist as everywhere else in Europe when the wars of the French Revolution and Empire were completed: Romanticism and Classicism. The themes are those of the time, very diverse, but with a clear tendency to the observation of Danish society, the landscapes of Denmark, and of course of Italy. These two trends will in fact continue throughout the 19th century. The second part of the century is illustrated by the Skagen School, a painting often influenced by French Impressionism and therefore more oriented towards landscape painting. A painting that develops more the techniques of Modern Art, sketch, tachism, flat paint. The romantic, classical or realistic style painting, however, continues to exist fully. The great attention paid to the daily life of the population is a characteristic of this painting, which brings it closer to the art of Protestant Netherlands of the golden age, but gives us to see the customs and ways of life two centuries later. And of course the seascapes From 1830/1850 to around 1940, it was in Europe the period of Modern Art. The 19th century and the first years of the 20th, in Europe, are characterized in painting by the very great diversity of the themes addressed by the painters, in a register as well profane as religious. As well as by the great diversity of pictorial techniques, sometimes classical, sometimes modern, often used simultaneously. This period of European painting is multiple, as in balance between its rich past and a future still ill-defined. Throughout this century Europe does not obey a single ideology. On the contrary, partsan elites from very different doctrines claim to dominate the continent, but can not impose themselves and exclude their rivals. In painting it is a magnificent song of the swan of Europe, which unfolds in a totally chaotic political environment, marked by absurd and self-destructive wars. When Europe commits suicide politically, its art explodes, once again, (one last time?) In a festival of Beauty and Inventiveness. A very imaginative Art, whose extraordinary diversity, technical and thematic, is a reflection of the tensions existing between the different components of European culture, the different beliefs then still alive in this end of Europe: - Traditional beliefs inherited from the values of Europe's past, which are still very active in the people, and also in part of the economic, ideological and political elite. God, Religion, Duties, Order, Tradition, Work, Family, Fatherland ... - New beliefs, claiming the ideas conceived by the new rising ideology, the new religion for all men, the "Enlightenment": Revolution, Science, Progress, Man, Democracy, Rights, Happiness, Modernity .... New values very influential in another part of the economic, ideological and political elite of Europe. This diversity of beliefs in different and even totally opposite values is the explanation of this double observation: In politics of incessant and deadly clashes, until repeated genocides. In painting, Modern Art, these are remarkable inventions: An aesthetic renewed by the observation of the arts of the past of Europe: Byzantine, Romanesque and Gothic. The flat painting of these "dark times" has in fact inspired all the painting of Modern Art. But other approaches of Beau have been developed: the sketch, the tachisme .... and an absolute novelty appears, at least in Europe: Abstract Art. In Europe, because in the field of abstract art, China had preceded us, from very far away. Artists benefit from this situation of ideological competition: they gain the freedom to paint according to their own tastes and ideas. They are not forced to obey the injunctions of official or dominant institutions. In France, the Academy's resistance to Impressionist painting lasted only a few years. The 19th century is certainly in the history of European painting the century when artists have enjoyed the greatest freedom. The official, academic, ideologically monolithic and totalitarian painting will only be reborn from the 1950s onwards, coming from New York, where it appeared in the 1920s and following. This is Contemporary Art, an art that is intented to be international, globalist. This art has two aspects, inseparable and complementary, under state control, it is omnipresent in museums of contemporary art, and totally private, for which has established an international market. Free artists take refuge in private commercial art and in street art, artistic events of a much more regional and local character.
Vineeta of artnlight, has posted photos from her recent visit to Rajasthan and they're pretty terrific. Lots of inspirational color.
A rare glimpse into the private life of the Danish painter Vilhelm Hammershøi at the Royal Academy
Definito “il poeta del silenzio”, VILHELM HAMMERSHØI è uno degli enigmi più misteriosi e affascinanti della storia dell’arte.
What do you think of the Benjamin Moore COTY 2019 Metropolitan? I'm thinking about it, but seeing it online, in little dabs isn't like seeing it for real.
. Vilhelm Hammershøi 's paintings . "Hammershøi's most compelling works are his quiet, haunting interiors, their emptiness disturbed only occasionally by the presence of a solitary, graceful figure, often the artist's wife. Painted within a small tonal range of implied greys, these…
