Vilhelm Hammershøi
Danski slikar Vilhelm Hamershoi nije naročito poznat u srpskoj kulturi ali stvari se polako menjaju zahvaljujući internetu. Već sam pisala o ovom slikaru u tekstu Kamerna muzika kada sam njegove slike poredila sa prvim delom Džejmsa Džojsa, zbirkom pesama Chamber Music.
Sada, želim uopšteno da predstavim ovog slikara, polazeći od najrazličitijih slika koje se mogu činiti kao jedna. Hamershoi ponavlja motive a paleta je uvek svedena na sivu i tamnu braon ili crnu. Svetlost i tišina dominiraju. Takođe, predmeti su oživljeni i u njima se da prepoznati misao, sećanje koje odzvanja sobama. U istu su kroz visoke prozore prodrli suptilni zraci, najavljujući bistra.
Na zvaničnom sajtu Danske republike o ovom slikaru piše:
“Throughout his life he was preoccupied with a strictly limited circle of motifs encompassing interiors from his home, portraits of his family and friends, and architecture and landscape paintings.
Light and air are of central importance in Hammershøi’s paintings, often assuming an almost physical consistency.
He is best known for his many interiors portraying simple and sparsely furnished rooms. They are often devoid of human figures, but in many there is an isolated female figure, usually stationary and with her face turned away.
In the 1890s Hammershøi executed a number of architecture paintings, especially of Amalienborg and Christiansborg Palace, both of which are shrouded in a light mist like that in his Zealand landscapes.
Hammershøi’s stylish and delicately shaded paintings assumed an isolated position in relation to the predominantly naturalistic Danish art of the day. In 1891 he was one of those helping to establish Den Frie Udstilling.” *
