Peter Ilsted (14 February 1861 - 16 April 1933) was a leading Danish artist and printmaker. He was most associated with domestic interior scenes.
Biography
Peter Vilhelm Ilsted was born at Sakskøbing in Guldborgsund, Denmark. He was the son of merchant Jens Peter Ilsted and Johanne Sophie Lund.
He was the brother-in-law of painter Vilhelm Hammershøi (1864-1916). He married Ingeborg Lovisa Petersen (1869-1945) in 1891.
He came to the Royal Danish Academy of Fine Arts in 1878, completing his course of study in five years.
He made his debut at the Charlottenborg Spring Exhibition in 1883.
Two years later, he joined a study trip across Italy to Egypt, Palestine, Greece and Turkey.
Later he visited Scotland, England, Holland, Belgium, Spain, Morocco and France.
Artistic style
With support from the Cultural Ministry, he traveled to the Exposition Universelle (1889) in Paris.
He was awarded the Eckersberg Medal in 1890 and 1899.
He became an assistant at the Royal Danish Academy from 1893-1905 and worked periodically as a conservator-restorer.
Ilsted died in Copenhagen during 1933.
Peter Ilsted and Vilhelm Hammershøi, together with Carl Holsøe (1863-1935), were leading artists in early 20th-century Denmark.
All three artists were members of the Free Exhibitions (Den Frie Udstilling), a progressive artists association founded in 1891.
They are famous for painting images of "Sunshine and Silent Rooms", all in subtle colors.
Their works reflect the orderliness of a tranquil life - similar to the earlier works of Vermeer.
Their art was later referred to as the ‘Copenhagen Interior School’.
These interiors evoke at once a sense of calm and mystery.
The orderly rooms are often viewed from behind—causing one to wonder whether the scenes are really tranquil.
James McNeill Whistler, Duret and important art critics were early admirers and collectors of Ilsted’s works.
While at first glance their work appears similar, Ilsted and Hammershøi were in fact quite different.
Hammershøi’s work has an aloof austerity, in contrast to Ilsted's scenes of common life.
Though sometimes Hammershøi’s colorful early pictures are reminiscent of James Tissot (1836-1902), his work is quintessentially Danish.
However, Ilsted was more of a technician, and he made considerable contributions in the field of graphic arts.
Ilsted’s mezzotints (sometimes printed in colour à la poupée) were very popular and important in his day.
They were an innovation in the media.
Ilsted exhibited his work all over Europe, in London in 1907, in Germany and at the Paris Salon, where Europe’s art community was first exposed to his work.
Ilsted was a great success in his lifetime and won many awards and accolades for his work.
He was the only member of the group to also focus on printmaking.
Ilsted’s achievements in mezzotints were revolutionary.
Some of his mezzotints, most of which were created in black as well as color editions, are considered among the greatest ever made.
His greatest contribution, which T. F. Šimon (1877-1942), Manuel Robbe (1872-1936), and others seemingly adopted was that of inking the plate à la poupée.
Some art historians have argued that these three men created the technique at about the same time but without consultation. This is uncertain.
The Metropolitan Museum of Art (New York) held an important exhibition on the work of Ilsted, Hammershøi, and Vermeer in 2001. | Source: © Wikipedia
Peter Ilsted (14 febbraio 1861 - 16 aprile 1933) e Vilhelm Hammershøi, insieme a Carl Holsøe (1863-1935), furono artisti di spicco nella Danimarca dell'inizio del XX secolo.
Tutti e tre gli artisti erano membri della Free Exhibitions (Den Frie Udstilling), un'associazione di artisti progressisti fondata nel 1891.
Sono famosi per aver dipinto immagini di "Sunshine and Silent Rooms", il tutto con colori tenui.
Le loro opere riflettono l'ordine di una vita tranquilla, simile alle prime opere di Vermeer.
La loro arte fu in seguito chiamata "Copenhagen Interior School".
Questi interni evocano allo stesso tempo un senso di calma e mistero.
Le stanze ordinate sono spesso viste da dietro, facendo sorgere il dubbio se le scene siano davvero tranquille.
James McNeill Whistler, Duret ed importanti critici d'arte furono i primi ammiratori e collezionisti delle opere di Ilsted.
Mentre a prima vista il loro lavoro sembra simile, Ilsted e Hammershøi erano in realtà piuttosto diversi.
Il lavoro di Hammershøi ha una discreta austerità, in contrasto con le scene di vita comune di Ilsted.
Sebbene a volte i primi quadri colorati di Hammershøi ricordino James Tissot (1836–1902), il suo lavoro è essenzialmente danese.
Tuttavia, Ilsted era più un tecnico e ha dato notevoli contributi nel campo delle arti grafiche.
Le mezzetinte di Ilsted (a volte stampate a colori à la poupée) erano molto popolari ed importanti ai suoi tempi.
Erano un'innovazione nei media.
Ilsted espose le sue opere in tutta Europa, a Londra nel 1907, in Germania ed al Salon di Parigi, dove la comunità artistica europea fu esposta per la prima volta al suo lavoro.
Ilsted è stato un grande successo nella sua vita e ha vinto molti premi e riconoscimenti per il suo lavoro.
Era l'unico membro del gruppo a concentrarsi anche sulla stampa. I successi di Ilsted nelle semitinte furono rivoluzionari.
Alcune delle sue semitinte, la maggior parte delle quali sono state create in nero oltre che in edizioni a colori, sono considerate tra le più grandi mai realizzate.
Il suo più grande contributo, che T. F. Šimon (1877-1942), Manuel Robbe (1872-1936) ed altri apparentemente adottarono, fu quello di inchiostrare il piatto à la poupée.
Alcuni storici dell'arte hanno affermato che questi tre uomini hanno creato la tecnica più o meno nello stesso periodo ma senza consultarsi. Questo è incerto.
Il Metropolitan Museum of Art (New York) ha tenuto un'importante mostra sul lavoro di Ilsted, Hammershøi e Vermeer nel 2001. | Source: © British Wikipedia
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