His tableaux of figures turned away from the viewer project an air of slight tension and mystery, while his exteriors of grand buildings in Copenhagen and in London (he painted two exteriors of the British Museum between 1905 and 1906) are devoid of people, a quality they share with his landscapes.
The figures in his tableaux, which face away from the viewer, convey a subtle tension and mystery. His exteriors of grand buildings in Copenhagen and London (he painted two exteriors of the British Museum between 1905 and 1906) lack people, as do his landscapes.