In 1909 the couple moves to a house in Bredgade 25, in another part of Copenhagen. In this short period that ends with a new move in 1913, Hammershøi seeks to renew his original creativity but exhausts his fragile health on female nude studies.
Dated 1910, an Interior with easel preserved at the National Gallery of Denmark shows a corner of an empty room in Bredgade, illuminated through a visible glass door on the left edge. The light projected on the dull wall is blurred. In this phase the artist experiments with the inclusion within grey of bright colors that are visible only by close inspection but contribute to the overall effect in the manner of the Impressionists.
In 1912 he paints an identical view that goes much further in the experimentation of lights like some tribute to the Dutch painters of the seventeenth century whom the artist admired.
The light of the beginning or end of the day comes from the same source but is here more sunny. Through an interior door, a similar light appears like an echo in a back room. Another luminous trace is visible on the floor, coming from a window out of field on the other side. The artist thus shows in a single view both the morning and evening lightings into the room where he has installed his easel, according to the new principles of multiple angles of the Futurism.
This seemingly simple composition is in fact a mystery to which the easel, already placed in the same position in 1910, contributes greatly. It is facing the wall, so we cannot see if a work is going on. The currently absent artist could only observe the other back wall, which we imagine as empty as the rest of the room.
This oil on canvas 78 x 70 cm is estimated $ 1.5M for sale by Christie's in New York on October 31, lot 14. Please watch the video shared by the auction house.
SOLD for $ 5M including premium