Interior in Strandgade, Sunlight on the Floor

This piece of art is shown to you thanks to the Statens Museum for Kunst in Denmark. Thank you! Much of Hammershøi’s work shows interiors from his homes. Over the years, he would use his changing homes as studio and subject matter. He did not choose his flats at random. His homes were chosen because they provided a sensuous space for his paintings. The rooms constitute the main setting, and in these settings the figures interact with their surroundings as if taking part in an intimate chamber play. In an interview with the magazine Hjemmet (The Home) in 1909, Hammershøi said: ‘I personally prefer the Old; old buildings, old furniture, the unique and distinct atmosphere that such things possess’.. Hammershøi was part of an international movement in which traditional settings, such as interiors, are used to investigate the painterly space. These artists accentuated phenomena such as light, air, and water over narrative, and their attention was focused on how they applied paint to the canvas. Many artists at that time were interested in photography as a point of entry into painting. The photographs in Hammershøi’s collection include several images of Copenhagen streets and backyards that appear to be closely linked to his paintings. 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.