Vilhelm Hammershøi (1864-1916) was a Danish artist best known for his somber, haunting interior scenes.1,2 A master of understatement, his best works are small interiors, often devoid of people. When human beings do appear, they ordinarily have their backs turned to the viewer and are apparently self-absorbed. Hammershøi’s art transformed his apartment into a continuum of unsettling empty spaces where time seems suspended; his works are not still life paintings but are intended to convey a mood, often a melancholy stillness. He does so by limiting his palette to umber, sienna, brown, black, and white and by excluding warmer tones. Hammershøi’s works are not naturalistic but, instead, reflect a mental climate without vitality and seem to speak to the loneliness and isolation of the individual. Yet, if the viewer takes the time to attune his or her mood with the mood of the artist, to be become attuned to the artist’s poetic sensibility, there emerges, from Hammershøi’s use of light, a sense of quietude in his compositions. Still, Hammershøi’s constant subversion of the viewer’s expectations creates a sense of disquiet and causes the viewer to emotionally turn back into himself or herself.