Hammershøi, the painter of silence and emptiness that you cannot miss this time

This evocative power comes from its organic quality (the result of a perfect balance of physical and mental abilities) or from our ancient experience with representation (we’ve been painting cases for thousands of years). That’s the case the carriage is habitable and can be transported in any direction of the space you enter.

More related to this, I will send you to Hammershøi. Y e.g How much the light passing through the corner of 30 Strandgade in Copenhagen at the end of 1903 matters to me. This is the light now rippling on the wall of the house painted on the line, bright and dreamy, barely a square centimeter of pigment and without an unbreakable embargo. I care because it’s a white flag to ask the old man for a truce, and I have to talk about it every day.

But have more hours of northern sun in the villa in other parts of this exhibition. In these rooms with gray walls, a few objects (some kind of musical instrument) and even a figure, it seems that the artist wanted to paint all the time and space that exists between them.

Between woman and table, between dress and comfort. There are these intervals between the notes, so decide the argument tables. A painter as well as silence and vacíos, which is typical for Hammershøi. If you want to introduce this to someone without showing them your work, they will tend to refer back to the lesson: Hammershøi equals Vermeer, who was started by Mondrian, but Morandi was started by Robert Ryman.

In fact: we see here female figures sitting next to windows in orthogonally marked stands. Let’s add the sadness of the financial loss that will happen one daypainted in a relentless exploration of the monotony of grey, blue and ochre.

This artistic mathematics without an embargo will not solve the mystery. I’m disappointed that the female character is always a case of warriors, that we don’t know what she is because she’s there. It is also rare for Biedermeier furniture to be completely anachronistic (corresponding more to the 1830s or 1840s).

The doors are also eloquent in their levels of opening, just as they hold a conversation. Although I myself admitted what she was interested in was “the architectural stance of the painting“, the escasos landscapes we see here are just as desolate and magnetic without the embargo. No, I thought Hammershøi was a bit agoraphobic.

So I need to express my opinion better and present this exposure to the painter. Vilhelm Hammershøi He was born in Copenhagen in 1864 and died in the same city in 1916.. Basically, he trained at the Academy of Arts in his city and it happened in 1891 with Ida Ilstedová, his companion. The work spent a long time in Paris and London (they are extraordinary in two older paintings in the British Museum).

Hammershøi painted one 400 squares (here he stands at 70) and enjoys a lifetime of excellent reputation. Temporarily influenced by James Whistler and symbolism, they developed it during his lifetime impressionism, post-impressionism, expressionism and cubism, so that no one experiences the slightest response in his work.

Most notably, the detectable influence is the Dutch painters of the 17th century. The consolidation of the avant-garde canon is based on this from the 1930s he found himself in the most absolute darkness. A review of this canon in the last five years has rediscovered it, and now the painting is exhibited with increasing interest.

Other possible variants of the exhibition will be available bumping into your attention in the middle which, in my opinion, is more a consequence of its conformity to certain intellectual fads than the effectiveness of the Thyssen communications department. Fashion or current ideas, I don’t want to undermine them. yes by name The eye that hearsas it relates to silence, attention and stillness.

and indeed silence and silence are the most important values ​​in our societywhich we catch up with meditation, el mindfulnessyoga or menu de proximity. As the title of the heart of the magazine says: “Hammershøi: a haven of calm in an era of noise”.

But we can also think that the interest is directly proportional to the seriousness of our life problem. Because the attractive properties of its buildings are undeniable. There is a deroche of space, cleanliness and sunshine in them that will be fascinating for the people living in the house or paid a square meter of their house for the price of a work of art.

Lujos offers privacy, amplitude, chromatic harmony, the soothing silence of music and the discretion of its inhabitants, Convierten these Hammershøi in some of the best pisos of our capital.