Interior of a farmhouse. (1916) er det mest berømte maleri af Marius Hammann. Man and woman in park. (1916) og Jægersborg Allé. (1914) er de næste to værker, som verden kender bedst. Udvalgt fra de 7 værker af Marius Hammann i vores katalog er her de 7, som samlere og museumsgæster oftest opsøger, inklusiv årstal, museum og historien bag hvert værk.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Marius Hammann | Malerier fra denne liste |
|---|---|---|---|
 Statens Museum for Kunst |
København | 2 | The Fortress in Collioure, Evening Talk |
Interior of a farmhouse. (1916). Derefter følger Man and woman in park. (1916) og Jægersborg Allé. (1914).
37 år gammel: Interior of a farmhouse. er fra 1916, og Marius Hammann blev født i 1879.
Vores katalog indeholder 7 værker af Marius Hammann, dateret fra 1914 til 1930.
De fleste af dem findes i Statens Museum for Kunst (København). Tabellen ovenfor lister museerne enkeltvis.
I 1910s: 5 af de 7 værker på denne side stammer fra denne periode, herunder Interior of a farmhouse..
Det tidligste på denne side er Jægersborg Allé. (1914), det seneste Evening Talk (1930).
The Fortress in Collioure og Evening Talk er blandt de 2 værker på denne side, som er i Statens Museum for Kunst, København's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
Thisted, Denmark, provides the starting point for Marius Hammann, born on May 25, 1879. His path leads him from the provincial quiet of his birthplace to the bustling energy of Copenhagen. By 1900, he is a journeyman, having completed his apprenticeship and begun formal studies at the Technical School. The rigor of the Royal Danish Academy of Fine Arts follows, where he studies under Frants Henningsen and Otto Bache, graduating in April 1901. His early years are defined by the discipline of a decorative painter, a craft shaped by the era's fascination with the Renaissance and Pre-Raphaelite aesthetics.
The transition from the rigid constraints of decorative work to a more fluid, painterly expression marks a significant shift in his career. This change is not sudden but is driven by a deepening engagement with light and color. His brushwork begins to loosen, moving away from the fixed forms of his training toward a style that prioritizes the interplay between light and surface. This evolution is deeply tied to his personal connections and the environments he inhabits.
The trajectory of Hammann's work is marked by specific artistic catalysts and geographic shifts. His development is not a straight line but a series of reactions to the light and the people around him.
As he moves through his career, the heavy, somber tones of his early Parisian works give way to something entirely different. By the time he reaches the landscapes of the south, his palette has transformed. The light becomes a primary subject, casting sharp, powerful marks of shadow across architecture and terrain. His work begins to vibrate with color, particularly in his depictions of the sun-drenched buildings of Christianshavn and Dragør, where he captures the specific yellow glow of the southern light.
Hammann's subject matter remains diverse, ranging from intimate interiors to expansive urban landscapes. He captures the quietude of a girl reading by a stove and the bustling energy of street scenes in old Copenhagen. His ability to blend the natural world with urban environments becomes a hallmark of his mature period. Whether painting a forest path or a canal by Damhussøen, the focus remains on how light defines the space.
He dies in Copenhagen on February 16, 1936. He leaves behind a body of work that successfully bridged the gap between classical Danish tradition and a more modern, light-saturated sensibility. His paintings remain a record of a specific era of Danish art, capturing the tension between the structured training of the Academy and the liberating power of light.