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His small, reticent, manically controlled paintings achieve that prim order, that almost morbid inwardness, that foreigners, at least, are apt to associate with the land of Hamlet and Kierkegaard. Nothing happens in his paintings, and his life would seem to have been every bit as uneventful as his art. Although he traveled widely in Europe, he does not appear to have learned much on his travels, beyond discovering Whistler in London. At an early age he married Ida Ilsted and he remained with her contentedly for the rest of his life.
Everything we know about him suggests that his radically introspective art reflected his character. One has the feeling that all he does is paint, that that is all he can do or wants to do. In addition to a fine female nude, the exhibition at Scandinavia House includes his Portrait of Ida Ilsted from , an exquisite character study of the timid young woman whom he would soon marry Fig.
Gentofte, North of Copenhagen from Fig. In these works he shows himself to be a symbolist of the realist variety. Notwithstanding a few early and unimportant exceptions, he does not traffic in the vaporous mythologies of symbolists such as Pierre Puvis de Chavannes, but rather in depictions of modern life refracted through his highly refined if decidedly depressive temperament. The paintings illustrated are in the National Gallery of Denmark, Copenhagen.
The template for these interiors comes ultimately from the school of Delft and the works of Johannes Vermeer and Pieter de Hooch, with their exquisitely calibrated order and balance. But none of these painters equaled him in artistic discernment or in the degree of his darkness or inwardness.
