HAMMERSHØI, Vilhelm - b. 1864 København, d. 1916 København - WGA

HAMMERSHØI, Vilhelm

(b. 1864 København, d. 1916 København)

Danish painter, born in Copenhagen and mainly lived and worked in the old quarter of that city. His father was a wholesale merchant and the family enjoyed a good standard of living. His younger brother was the painter Svend Hammershøi (1873-1948).

Hammershøi began his training at 8 and by the time he was in his mid-teens he was already studying at the Royal Academy of Art in Copenhagen. Towards the end of his study he also learnt at the Free Study School which offered a more liberal approach. His teacher was Peter Severin Krøyer.

He married Ida Ilsted (1869-1949) in 1891 and she provided the inspiration for many of his future works and is often the lone figure seen in his paintings. They lived a relatively quiet life, apart from Ida’s reported fiery temperament, and had no children. They traveled together throughout Europe, including Paris, Berlin and London.

Later in his life he lived in the old merchant house at Strandgade in Copenhagen and he painted the interior of this house more than sixty times. Hammershøi died of throat cancer in 1916 in Copenhagen at the age of 52.

Hammershøi painted portraits, landscapes and many room interiors which frequently contained a single figure that was seated or standing. Many of his paintings show empty rooms or often include the profile, or view from the back, of his wife in a long dark dress. These interior paintings always show rooms inside his own home and due to their popularity Hammershøi’s other subjects have been slightly overshadowed. He has painted sublime landscapes and architectural pictures that emit a lonely, deserted and empty feeling. There are definite elements of modernism in his work from the use of a muted palette and his frequent use of exaggerated light to the creation of similar yet subtly different paintings. Yet it is the interiors that remain the most popular due to the way they emit a solitary atmosphere devoid of life but still providing a real emphasis on a feeling of space.

Artemis
Artemis by

Artemis

Hammershøi painted out the fleshy elements of nudity in favour of an Arcadian concept of nudity as a pure, harmonic form. In his painting, the goddess Artemis - crowned with a crescent moon - becomes the centre of a sublimation of man and all things human.

Art historians have pointed to sources of inspiration such as Puvis de Chavannes and the frescoes of Masaccio and Masolino at the Cappella Brancacci, Chiesa del Carmine, Florence.

Interior in Strandgade, Sunlight on the Floor
Interior in Strandgade, Sunlight on the Floor by

Interior in Strandgade, Sunlight on the Floor

Much of Hammershøi’s work shows interiors from his homes. Over the years he would use his changing homes as studio and subject matter. The rooms constitute the main setting, and in this setting the figures interact with their surroundings as if taking part in an intimate chamber play. The figure in the present interior is the artist’s wife.

Interior with the Artist's Easel
Interior with the Artist's Easel by

Interior with the Artist's Easel

This painting is one of those interiors for which Hammershøi is famous. He would return to the subject over and over again, always trying out new effects. The paintings depict empty, ascetic, and eerily static rooms infused with a silent, tense atmosphere and with a mellow light falling in through the windows to gently touch the walls.

Hammershøi’s interiors are indebted to Danish art from the first half of the 19th century and to Dutch 17th-century art, but they stand apart from their predecessors with their unique, eerie atmosphere.

Portrait of Ida, the Artist's Wife
Portrait of Ida, the Artist's Wife by

Portrait of Ida, the Artist's Wife

The artist made this study during his stay in London in 1897-98.

Seated Female Nude
Seated Female Nude by

Seated Female Nude

In this painting the artist has accurately and gently modelled with his brushes the woman’s skin and voluptuous curves. The nude has a bodily sensuality that is often overlooked within Hammershøi’s art; a sensuality that also appears in several of the artist’s renditions of his wife, Ida.

Sunny Chamber
Sunny Chamber by

Sunny Chamber

Like all provincial styles, Biedermeier lasted longest in less-sophisticated centres and was still in evidence in Scandinavia at the end of the nineteenth century in such views as Vilhelm Hammershøi’s Sunny Chamber. Here the almost neo-Egyptian monumentality of the furniture is in striking contrast with the light pouring into the chamber, and with the abstract elegance of the paintings on the wall.

The Buildings of the Asiatic Company, seen from St. Anna Street, Copenhagen
The Buildings of the Asiatic Company, seen from St. Anna Street, Copenhagen by

The Buildings of the Asiatic Company, seen from St. Anna Street, Copenhagen

Hammershøi did not just paint interiors; he also ventured outdoors to depict a number of buildings and places in the city. These were always carefully selected, and frequently viewed through a characteristic misty haze.

View of Fredericksborg Castle
View of Fredericksborg Castle by

View of Fredericksborg Castle

View of Fredericksholms Canal
View of Fredericksholms Canal by

View of Fredericksholms Canal

The picture shows the Fredericksholm Canal in Copenhagen with three bridges on a misty November day.

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