图片尺寸：3384 × 4000 像素
作品名称：Interior with Ida in a White Chair
实际尺寸：57 x 49 cm
版权信息： Public Domain（公有领域）
图片尺寸：3384 × 4000 像素
坐在白椅子上的艾达的室内作品是Hammershøi捕捉永恒和内省孤独感的杰出能力的缩影，他对稀薄的光线与公寓的几何形状和锐角的观察增加了强大的效果。在他的室内风景画中，"光线是主要的主题......而这种光线是丹麦冬季的微弱光线，灰色天气的光线，没有色彩，没有温暖，也没有欢乐，尽管有如此丰富的细微差别......有一种光线倾泻在画布上，定义了这个空间。 ...光线通常是间接的，当然，Hammershøi也知道，间接的光线往往是最美丽的..."（Hanne Finsen和Inge Vibeke Raaschou-Nielsen, Vilhelm Hammershøi, En Retrospektiv udstilling, Copenhagen, 1981, p. 16）。
Painted in 1900, Interior with Ida in a White Chair was painted by Hammershøi in the rooms of his home in Strandgade 30 in Copenhagen, an address that was to play a critical role in the development of the painter's singular aesthetic. Hammershøi and his wife Ida had moved into the apartment in 1898 and would remain there until 1909. Until moving to the address his depictions of interiors had been no more important than his portraits, architectural paintings and landscapes. Once established in Strandgade, however, Hammershøi's arrangement and rearrangement of the distinctive, sparsely furnished space, bare wooden floorboards, perpendicular wall mouldings, sentinel stoves and generous painted white doors quickly became the central motif of his work.
The present work is arguably the most poetic of the series of paintings made from this viewpoint in the apartment, the soft tonalities punctuated and set into relief by the finely carved fan-shaped back of the white-painted chair in which the delicate figure of Ida sits. Compositionally, the painting relates most closely to an interior painted eight years later, showing Ida seated in the same position but on a dark wooden chair. However, stylistically and in its palette, it comes closer to Interior, of 1899, taken from a viewpiont slightly to the left, in which Ida stands by a round mahogany table, a stove in the corner, and both doors shut. As well as re-arranging the furniture for different compostions, it would appear that Hammershøi occasionally took some poetic licence as well: the metal stove so often visible in the corner is conspicuously absent in the present work, as if to emphasise the calm, uncluttered atmosphere.
Interior with Ida in a White Chair epitomises Hammershøi's remarkable ability to capture a sense of timelessness and introspective solitude, his observation of the rarefied light against the geometric forms and sharp angles of the apartment adding to the powerful effect. In his interior landscapes, 'light is the principal subject...and that light is the meagre Danish winter light, the light of grey weather quite without colour, warmth, or gaiety, albeit so rich in nuance...There is a light that pours in over the canvas and defines the space...The light is usually indirect for, of course, Hammershøi also knows that indirect light is often the most beautiful...' (Hanne Finsen and Inge Vibeke Raaschou-Nielsen, Vilhelm Hammershøi, En Retrospektiv udstilling, Copenhagen, 1981, p. 16).