Hammershøi’s interiors paintings may have been popular but they were not influential and a decade after he died they fell out of favour. Some 30 Hammershøi paintings were exhibited at SMK until 1930 when they were returned to their owner Alfred Bramsen, Hammershøi’s most important patron.
It wasn’t until the 1970s that Hammershøi was re-evaluated in the light of Danish Modern, the design movement of the two preceding decades.
His aesthetic fitted its restrained minimalism. By the 80s and 90s his popularity soared as his paintings were interpreted in the context of modern architecture and design. The advent of social media platforms such as Instagram, see #hammershoi, has simply reaffirmed the appeal of his version of the Nordic aesthetic to the digital literati.