Early Life, Family and Training

Born in Copenhagen on 31 July 1821, William Hammer entered a household where the visual arts were a familiar language. He was the son of Peder Pedersen Hammer and Johanne Bistrup. Artistry ran through the family veins, as his elder brother, Hans Jørgen Hammer, also pursued a career as a painter. This domestic environment likely provided the foundational understanding of craft that would define his own life.

His formal education began in earnest at the Royal Danish Academy of Fine Arts. Between 1833 and 1839, Hammer underwent rigorous training, honing the technical skills required for his future specializations. During these formative years, he studied under the guidance of Ole Larsen, a period of instruction that shaped his early development and prepared him for the professional demands of the Danish art scene.

Career and Major Awards

Hammer’s professional ascent was marked by significant institutional recognition during the mid-19th century. In 1853, he was honored with the Neuhausen Prize, a distinction that coincided with the Academy granting him travel support. This financial assistance, which was renewed the following year, allowed him to expand his horizons beyond Denmark, leading him through France, Germany, and Italy before his return home in 1855.

His technical proficiency in the still life genre earned him further accolades as his reputation grew. In 1860, he was awarded the Thorvaldsen Medal, a high honor stemming from his painting Korn og frugter under et æbletræ. His contributions to the public artistic landscape also included participating in the decoration of rooms within the Thorvaldsen Museum, working under the leadership of Michael Gottlieb Bindesbøll.

By 1871, his standing within the artistic community was formalized when he became a member of the Royal Academy. This membership solidified a career defined by a steady accumulation of honors and a deep engagement with the formal structures of Danish art.

Later Years and Death

In his later years, Hammer’s interests expanded beyond the canvas and into the realm of archaeology. He traveled to Italy to investigate various archaeological finds, a pursuit that reflected a deep-seated fascination with the ancient world. He became an avid collector of antiquities, focusing his attention particularly on Greek clay lamps. This scholarly passion eventually culminated in the publication of his book, Om de antike lerlamper, released in Copenhagen in 1887.

The artist’s life came to an end in 1889. He passed away at the Copenhagen Municipal Hospital. Following his death, he was laid to rest in the Assistens Cemetery.