Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 41 works by Edvard Weie in our catalogue
In short
Interior with a woman reading. (1905) is the Edvard Weie painting that draws the most eyes. After it, the eye goes to Self-portrait (1905) and Blue Room with Seated Figure (1907). Among the 41 works of Edvard Weie in our catalog, these 39 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
In this 1905 oil painting, we find ourselves invited into a private, domestic sanctuary. The scene is composed with a deliberate asymmetry, drawing the eye first to a woman seated in repose on the left. She leans back, lost in a book, her presence anchoring the room's stillness. A large wooden table dominates the foreground, its polished surface catching the light and creating a sense of tangible depth. Through a…
This oil painting, executed in 1905, presents a close-up view of a man's face set against a dark, undifferentiated background. The subject is positioned at eye-level, looking directly toward the viewer with a serious and contemplative expression. His hair is light brown and wavy, and he possesses a mustache. A white shirt collar is visible at the base of the neck, providing a sharp tonal contrast to the surrounding shadows.…
In Blue Room with Seated Figure by Edvard Weie, a quiet stillness settles over a domestic interior. The scene unfolds in a medium shot, centering on a solitary woman who rests upon a long, dark sofa. She sits amidst a room defined by large windows that invite the outside world in. The perspective feels intimate, as if the viewer is standing at a slightly elevated, eye-level viewpoint, looking into this…
In "Self-Portrait with a Straw Hat" by Edvard Weie, the artist presents a close-up study of a single male figure. The composition focuses tightly on the head and upper shoulders, positioned slightly off-center to disrupt a perfect symmetry. A mustache defines the subject's face, set beneath the brim of a boater-style straw hat marked by a dark band. The gaze is direct, meeting the viewer from an eye-level perspective that…
Emma Weie, the Artist's Sister is an oil portrait created by the Danish painter Edvard Weie. The work, executed in 1909, depicts the artist's sister in a seated position. The subject is presented in a medium shot, positioned slightly to the right of the center of the vertical composition.
There is a profound stillness in this 1908 oil painting, a moment captured at the edge of day. We find an elderly woman seated within a shadowed, enclosed space, perhaps a vehicle, as the light of the city begins to flicker in the distance. The composition draws the eye toward her presence, using a vertical orientation to anchor her against a sprawling, dimly lit cityscape. She holds an umbrella, a…
The sun hangs high and diffused over a rugged, rocky landscape, casting a soft light across a scene of profound stillness. Two figures inhabit this outdoor world, their presence felt through gestural, broken brushstrokes that prioritize the essence of light over the precision of form. In the lower left foreground, a figure sits amidst the stones, while further back, another figure stands, draped in soft whites and pinks that catch…
This work is the Self-Portrait by Edvard Weie. Painted in 1915, it presents a direct encounter with the artist himself. Weie, a Danish Modernist painter, turned his gaze inward to capture his own likeness during a significant period of his creative development.
Poseidon Rushing over the Sea Surrounded by Nereids and Tritons is an oil on canvas work by the Danish Modernist painter Edvard Weie. Executed in 1917, the piece belongs to a period in which the artist explored mythological and literary themes through a lens of evolving abstraction. The composition centers on the god Poseidon, navigating a turbulent seascape.
There is a certain stillness that settles over a garden when the afternoon light begins to shift. In this 1917 work, we find ourselves placed within the intimate confines of a garden on the island of Christiansø. Three figures are gathered near a white wooden bench, their presence felt through the weight of their forms rather than the precision of their features. The scene captures a moment of social interaction,…
Portrait of a Boy1920 · Statens Museum For Kunst
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Portrait of Bent von Müllen as a Boy1918 · Statens Museum For Kunst
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Portrait of a Boy1923 · Statens Museum For Kunst
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Standing Female Nude1923 · Statens Museum For Kunst
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Portrait. The Barrister Niels Thorup1941 · Statens Museum For Kunst
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Outside the Gates of Cività d'Antino1907
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Boats at the Quay in Christianshavn1908
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View of Wilders Square at Christianshavn. Evening, 19061906 · Statens Museum For Kunst
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Utsikt over Højbroplads1911 · National Museum of Art, Architecture and Design
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The Joy of Life1911 · Statens Museum For Kunst
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From Amalfi1907 · Statens Museum For Kunst
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Trees on Christianshavns Vold1908 · Statens Museum For Kunst
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Refshaleøen. The Copenhagen Harbour1907 · Statens Museum For Kunst
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Landscape, Christiansø1911 · Statens Museum For Kunst
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Mindet, Christiansø1912 · Statens Museum For Kunst
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From Quai de la Tournelle, Paris1912 · Statens Museum For Kunst
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Landscape with Haystacks1916 · Statens Museum For Kunst
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Nereids and Tritions1917 · Statens Museum For Kunst
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Landscape from Christiansø1914 · Statens Museum For Kunst
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Dante and Vergil in the Underworld1913 · Statens Museum For Kunst
31
Two Genii. Sketch1922 · Statens Museum For Kunst
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Still Life with Oranges1922 · Statens Museum For Kunst
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Romantic Fantasy1922 · Statens Museum For Kunst
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Landscape1918 · Statens Museum For Kunst
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The Mail Boat Arriving, Christiansø1920 · Statens Museum For Kunst
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Still Life with Oranges in a Basket1923 · Statens Museum For Kunst
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Study after Delacroix's "Dante og Vergil"1925 · Statens Museum For Kunst
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A Forest Road1932 · Statens Museum For Kunst
39
Faun and Nymph1940 · Statens Museum For Kunst
The four subjects that come back most often in these originals, each with its finest example.
The 2 museums that hold the most of the paintings on this page.
| Museum | City | Works by Edvard Weie | Paintings from this list |
|---|---|---|---|
 Statens Museum For Kunst |
Copenhagen | 32 | Self-Portrait with a Straw Hat, Emma Weie, the Artist's Sister, The Artist's Mother |
 National Museum of Art, Architecture and Design |
Oslo | 1 | Utsikt over Højbroplads |
Pick a decade to see the original that defines it.
In this 1905 oil painting, we find ourselves invited into a private, domestic sanctuary. The scene is composed with a deliberate asymmetry, drawing the eye first to a woman seated in repose on the left. She leans back, lost in a book, her presence anchoring the room's stillness. A large wooden table dominates the foreground, its polished surface catching the light and creating a sense of tangible depth. Through a…
The sun hangs high and diffused over a rugged, rocky landscape, casting a soft light across a scene of profound stillness. Two figures inhabit this outdoor world, their presence felt through gestural, broken brushstrokes that prioritize the essence of light over the precision of form. In the lower left foreground, a figure sits amidst the stones, while further back, another figure stands, draped in soft whites and pinks that catch…
In Portrait of a Boy by Edvard Weie, a young boy emerges from a somber, moody atmosphere. The composition is vertically oriented, pulling the eye upward toward the subject's face. He is positioned off-center, caught in a three-quarter view as he looks slightly toward the viewer. This placement creates a sense of quiet, unscripted presence. The boy's pale skin tones stand out sharply against a heavy, dark environment. He seems…
A solitary figure emerges from a sea of monochromatic shadows, caught in a moment of profound stillness. This is Niels Thorup, rendered not through the meticulous lines of a traditional portrait, but through the raw, energetic language of form and light. The composition centers on his standing presence, a sculptural silhouette that seems to push against the very edges of the frame. There is a weight to his posture, a…
Interior with a woman reading. (1905). Self-portrait (1905) and Blue Room with Seated Figure (1907) come next.
26 years old: Interior with a woman reading. dates from 1905, and Edvard Weie was born in 1879.
Interior with a woman reading., Self-portrait, Blue Room with Seated Figure, Self-Portrait with a Straw Hat, Emma Weie, the Artist's Sister, The Artist's Mother, Lady with Parasol, Self-Portrait, Poseidon Rushing over the Sea Surrounded by Nereids and Tritons and In the Vicar's Garden, Christiansø. The ranking above gives each one's year and museum.
Our catalog holds 41 works by Edvard Weie, dated from 1905 to 1941.
Mostly in Statens Museum For Kunst (Copenhagen) and National Museum of Art, Architecture and Design (Oslo). The museum table above lists them all.
In 1910s: 15 of the 39 works on this page were made then, Lady with Parasol among them.
On this page, the earliest is Interior with a woman reading. (1905) and the latest Portrait. The Barrister Niels Thorup (1941).
Woman (6), Man (4) and Chair (3), across the 39 works on this page.
Oil On Canvas, for 10 of the 39 works on this page.
Self-Portrait with a Straw Hat, Emma Weie, the Artist's Sister and The Artist's Mother: the Statens Museum For Kunst, Copenhagen holds 32 of the works on this page.
Born in Copenhagen, Denmark, on 18 November 1879, Edvard Weie faced the hardships of a difficult childhood. His father departed when the boy was still very young, leaving the family to struggle against the weight of poverty. To help his household survive, the young Edvard took on the labor of a newspaper deliverer, walking the streets every morning to distribute papers before his school lessons began. These early years of toil were followed by work as a house painter, a trade that kept his hands busy with the practicalities of color and surface.
Despite these economic burdens, a quiet ambition for the arts persisted. Edvard Weie sought a formal education and traveled to Copenhagen to apply for admission to the Royal Danish Academy of Fine Arts. However, the institution did not accept him, a rejection that might have ended his aspirations had circumstances been different. Instead, he found a different path toward his calling. In 1905, he entered the Kunstnernes Frie Studieskoler, where he studied under the guidance of Kristian Zahrtmann. It was within this school that he was first introduced to the shifting currents of modern art.
The early years of his creative life were marked by a search for meaning within the traditional structures of art. He began his career by turning toward the stories of old, crafting works that drew their strength from mythological or literary themes. These early explorations were deeply rooted in the narratives of the past, seeking to capture the essence of legend through the brush. However, as his vision matured, his focus shifted away from these storied subjects toward the tangible reality of the world around him. He found a new purpose in the quiet observation of everyday life, turning his gaze toward the bustling street scenes and the rhythmic views of the Copenhagen harbor.
This transition from the literary to the observational was accompanied by a profound evolution in his handling of form and color. As the years passed, his compositions underwent a steady transformation, shedding their literal details in favor of a more distilled expression. His works became increasingly abstract, moving away from the recognizable shapes of the city and the sea toward a more essentialized language of light and pigment. This pursuit of abstraction was not a sudden departure but a gradual shedding of the unnecessary. His commitment to this evolving vision was recognized in 1925, when he was awarded the Eckersberg Medal.
The path of his development was shaped by the company he kept and the landscapes that called to him. In 1907, he traveled to Italy alongside his teacher, Kristian Zahrtmann. This excursion offered a glimpse into a different light, though the partnership eventually ended in a falling-out. Upon returning to Denmark, his focus shifted toward the rugged isolation of the island of Christiansø. For nearly a decade, from 1911 to 1920, he spent part of every year there, finding a rhythm in the island's specific atmosphere.
It was during these years on Christiansø that he encountered the Swedish painter Karl Isakson. The two men shared the space of the island, and their presence marked a significant chapter in Weie's life. When Isakson died early in 1922, the loss left a void that Weie filled with intense study. He turned his attention to the way Isakson had utilized color, absorbing these lessons and weaving them into the fabric of his own evolving style.
In his final years, Weie moved further away from the established circles of the art world. He never sought to align himself with any specific artistic movement, choosing instead to follow his own internal compass. This independence often placed him at odds with his contemporaries, as he was known to contribute sharp, critical pieces to newspapers and magazines. He felt a profound sense of crisis within contemporary Danish art, believing it had lost its essential human values. This conviction seemed to drive him toward a more solitary existence.
As he grew older, he exhibited his work less frequently. His focus shifted from the canvas toward the written word, as he dedicated much of his remaining time to composing a book. This work, titled Poesi og Kultur, was intended to summarize his deeply held opinions on art and society. The volume was eventually published in 1951, several years after his passing, through the efforts of his widow.
The artist's life came to an end in 1943 in Frederiksberg. Following his death, he was laid to rest in Vestre Kirkegard in Copenhagen. He left behind a body of work that had grown increasingly abstract, reflecting a lifetime of intense self-criticism and a relentless search for personal expression.
