Skagen painters – my daily art display

Maritime Art. Part 3.

The pleasure the sea and the shoreline brings to us.

Having looked at Marine Art with depictions of mighty sailing ships in Part 1., and the plight of fishermen and lifeboatmen battling raging seas in Part 2., this third and final part will concentrate on the tranquillity of the sea and the shoreline A and how people enjoy the elements.

When I was last in Madrid and had spent a few days and many hours in the main Museums of Art, such as the Prado, Thyssen-Bornemisza and the Museo Reina Sofia, I decided to visit the Sorolla Museum, featuring work by the Spanish artist Joaquin Sorolla as well as by members of his family such as his daughter Elena.

Strolling along the Seashore by Joaquin Sorolla (1909)

Sorolla completed a number of beautiful works featuring the serenity of simply walking along a beach. It is an abnormally large square canvas (200 x 208cms) for a seascape work with life-sized figures. The two figures are of his wife, Clotilde and his daughter Maria as they walk along the Playa de El Cabanyal beach in their hometown of Valencia. Both women wear long white sundresses. There is an air of elegance and sophistication regarding mother and daughter and they appear to be members of the upper class whiling away their time at the beach on a beautiful summer’s day. Because of our viewpoint we do not see the horizon and the background is the sea with white foam atop the waves. Sorolla has used many shades of blue to depict the shimmering sea.

Running Along the Beach, Valencia by Joaquin Sorolla (1908)

Nothing expresses happiness and excitement more than children running along the shoreline without a care in the world. Sorolla’s painting entitled Running Along the Beach captures the energy and movement of the three children as they race along the water’s edge. The city of Valencia and its beaches were Sorolla’s great loves despite the fact that he resided in Madrid. He spent many hours at the beach painting en plein air capturing the effects of the beautiful Mediterranean sunlight.

Summer’s Day on Skagen’s Southern Beach by Peder Severin Krøyer (1884)

Boys Bathing at Skagen, Summer’s Evening by Peder Severin Krøyer (1899)

From looking at the marine/seascape paintings they produced, life at Skagen in Denmark must have been an idyllic way for the artist colony painters and their families to relax and enjoy their lives.

Summer Evening on Skagen Beach, Portrait of the Artist’s Wife by Peder Severin Krøyer (c.1899)

His painting, Summer Evening on Skagen Beach, Portrait of the Artist’s Wife, was part of Peder Severin Krøyer’s iconic, large scale ‘blue period’. Krøyer arrived in Skagen for the first time in 1882. Soon he became captivated by the light, the landscape and the simple lifestyle of the local community. He returned every year during the summer months, whilst spending the rest of the year travelling or in Copenhagen where he had his studio. In the summer of 1889, around the time he completed this painting, he had married Marie Triepeke, a Danish painter, whom he had had met in Paris, shortly after she arrived in the French capital in December 1888. Marie ran into Krøyer at the Café de la Régence, a favourite with the many Danish artists living in the city at the end of the 1880s. As Krøyer affection for Skagen grew, he began to take more of an interest in the vast expanses of sea, sand and sky. In the painting the two figures are set into a blue half-light, which was a favourite with the artists of the Symbolist movement.

Anna Ancher and Marie Krøyer going for an Evening Walk along Sønderstrand by Michael Ancher (1897)

A Stroll on the Bach by Michael Ancher (1896)

Another Skagen painter, who depicted the sea and shoreline was the Dane, Michael Ancher. He is renowned for his many works of Skagen’s fishermen and their battle with the harsh nature of the seas around Skagen, but he also produced paintings which highlighted the more tranquil side of life in the coastal town. When in the early 1890s Peder Krøyer painted his first blue-toned atmospheric pictures depicting Skagen South beach, Ancher was inspired by these images. In Ancher’s early paintings of Skagen from around the 1880s, the beach is first and foremost a place of work for the fishermen, but in the 1890s, Ancher saw the beach as becoming a promenade for the bourgeoisie, and in this work, this is just what Ancher has depicted. In the painting, A Stroll on the Beach, we see the merchant and counsellor, Lars Holst’s four daughters and a friend: In the front, Ida Holst, on the left, her sister, Anna Holst with her friend Elisabeth Bang, then Minne and on the right, Sophie Holst.

Eagle Head Massachusettes (High Tide} by Wilmslow Homer (1870)

Spending time at the beach can be a way of relaxing and clearing one’s mind of bustling city life. It can also be a place when one can enjoy solitude and try and rid our minds of things we strive to forget. This painting, Eagle Head Massachusetts (High Tide} was completed by American artist Wilmslow Homer in 1870. In 1861 his employer, Harpers, sent him to the front lines of the American Civil War, where he sketched battle scenes and camp life, the quiet moments as well as the chaotic ones. During his time as an illustrator for the magazine he witnesses the horrors of war and this painting was one of serene tranquillity which Homer had desired after his time at the Front. After the long war, he turned his focus to lighter scenes and started concentrating on fashionable young women. The High Tide painting is believed to be Homer’s most daring subject. It depicts three women on the beach having emerged from a swim in the sea. The woman in the centre rings out her wet hair, startling the small dog which looks on. The painting received mixed reviews with some focusing on issues of decorum and class, criticizing the women’s state of undress, despite the fact that they are wearing typical bathing costumes of the era. Another criticised how Homer had depicted the women as “exceedingly red-legged and ungainly”.

At the Seaside by William Merritt Chase (c.1892)

William Merritt Chase was the most important teacher of American artists around the turn of the 20th century. From 1891 to 1902, Chase served as the director of the Shinnecock Hills Summer School of Art in the town of Southampton, on Long Island, New York. The school and Chase’s stay on Long Island were organised by Mrs. Janet S. Hoyt, a wealthy patron of the arts and an artist who lived in the Shinnecock Hills. Chase taught two days each week and spent the rest of his time painting and enjoying the company of his family. In his painting, At the Seaside, we see women and children enjoying themselves on the beach, along Shinnecock Bay. It is a depiction of genteel leisure on a perfect day, at a perfect location. Chase has depicted a broad expanse of sky that fills the upper half of the canvas. We see the rushing clouds cleverly echoing the bright white forms of the children’s dresses and the Japanese-style parasols.

Crowd at the Seashore by William Glackens (1910)

William Glackens, known as an urban realist, favoured the crowded Coney Island beaches of New Jersey to depict the egalitarian throngs that came together there to relax and enjoy the sun and sea. The mass of figures depicted in his painting Crowd at the Seashore, suggested that the folk from New York and New Jersey who came were of mixed socio-economic backgrounds. Glackens desire to introduce liveliness into the work was achieved by using a vibrant palette. To heighten the scene’s energy, Glackens used a vivid palette and vigorous brushstrokes, and he added saturated oranges and blues to conjure up the midday sun’s heat and glare. William Glackens painted many pictures featuring beach scenes which became very popular.

Shadows on the Sea. The Cliffs at Pourville by Monet (1882)

Monet’s painting entitled Shadows on the Sea is an excellent example of Impressionism and we are able to observe the individual brushstrokes of the wave. Monet has depicted shadows, reflections and movements by a series of short, curved brushstrokes in pure, unmixed pigments. It is interesting to note how Monet has used pure colours such as yellow and turquoise blue on parts of the wave and placed them next to each other. Our eyes blend them from a distance and we begin to see green waves. The setting for the work is a hot summer day by the sea, and we note that the strong wind flowing across the water disturbs it, and it becomes a million small, flashing mirrors, which is exactly what Monet had hoped to convey.

Cliff Walk at Pourville by Claude Monet (1882)

The Cliff Walk at Pourville is an 1882 work by Claude Monet and is currently part of the Art Institute of Chicago collection. Monet had a three-month stay between February and April 1882 at Pourville, a commune in the Seine-Maritime department in the Normandy region in northern France, in 1882. He fell in love with the coastal town and the surrounding area and wrote to his future wife, Alice Hoschedé, extolling its merits:

“…How beautiful the countryside is becoming, and what joy it would be for me to show you all its delightful nooks and crannies…”

She was impressed by Monet’s enthusiasm and so they returned to Pourville in June that year. The painting features two ladies on the cliff above the sea who could well be Alice and her daughter Blanche. Many years later an X-ray of the painting indicated that the artist originally painted a third figure into the grouping, but later removed it. In John House’s 1986 book, Monet: Nature into Art, he talked about Monet’s marine art:

“…His cliff tops rarely show a single sweep of terrain. Instead, there are breaks in space; the eye progresses into depth by a succession of jumps; distance is expressed by planes overlapping each other and by atmospheric rather than linear perspective- by softening the focus and changes of colour…”

Figures on the Beach by Renoir (1890)

Another seaside scene I like was painted by Auguste Renoir in 1890 and entitled Figures on the Beach. The setting is thought to have been a beach on the Cote d’Azur in southern France. It is a sun-filled work in which we see two females at the beach, one shown in profile, sitting whilst holding a parasol on the sand, the other standing with her back to us holding a small wicker hamper. Besides the two female we also have a small white dog lying in the sand next to the seated woman. In the mid-ground we see a young boy dressed in blue standing by the water’s edge throwing stones into the sea.

Sea Bathing, the Beach at Étretat by Eugène Lepoittevin, (1864)

Sea Bathing in Étretat by Eugène Lepoittevin (1866)

My final two offerings featuring marine art and the way people enjoy their time on beaches and in the sea are from the French artist, Eugène Lepoittevin, who achieved an early and lifelong success as a landscape and maritime painter. In the upper painting entitled Les Bains de Mer, Plage d’Étretat (Sea Bathing, the Beach at Étretat), completed in 1864, we see a large group of people enjoying their day at the seaside. Of these figures some have been identified. They include the prominent French author, Guy de Maupassant (in blue cap at left), Charles Landelle, the French portrait artist, (in red cap, centre), and the French illustrator, engraver, Bertall (reading newspaper at right). The painting which was completed in 1864 was lost and only rediscovered in the last decade and was sold at Sotheby’s in Paris, in December 2020, for €226,800, a record for a work by Lepoittevin.

Sea Bathing, the Beach at Étretat is also the title of another of Lepoittevin’s works and was completed in 1866. The setting is the tranquil shores of Étretat, a place for plein air painting favoured by the artist. It had everything he wanted – pristine beaches and dramatic cliffs with its natural arches carved by the relentless seas. Add to this people enjoying the good weather and the opportunity to bathe in the clear water and the scene becomes idyllic.

Maritime Art. Part 2.

The Sea and the Workers who risk their lives for others.

In this look at Maritime or Marine Art I want to showcase those paintings which feature the people who have dedicated their lives to saving seafarers and those working the seas in a continual search for food to put on our tables.

For the first of my forays into the depiction of fisherman I want to delve into the work of the great Skagen painters. These were a group of Scandinavian artists who had come together in the small coastal village of Skagen, which is situated in the northernmost part of Denmark, from the late 1870s until the turn of the century. One of the Skagen painters was Peder Severin Krøyer. He was born in Stavanger, Norway on July 23^rd 1851 but moved to Denmark as a child. At the age of fourteen, he attended the Royal Danish Academy of Fine Arts in Copenhagen. Even at that young age he was a proficient portrait painter and was esteemed for his artwork and received many commissions.

Fishermen hauling nets, North Beach, Skagen by Peder Severin Krøyer (1883)

Krøyer depictions of fishermen were often in more serene situations rather than those showing the fishermen and their boats battling the elements. His painting entitled Fishermen Hauling a Net at the North Beach, Late afternoon, was one of his first works painted on the beaches of Skagen and he wrote to his patron the tobacco manufacturer Heinrich Hirschsprung that for this painting he wanted to be close to the fishermen who had been hauling a net at the North Beach one late afternoon sundown when the sun appears flat and the weather is clear. He had made many small preliminary sketches before taking the large canvas to the beach to complete the work en plein air. He wrote to his patron:

“…I was on Nordstrand for the first time with my large picture this afternoon, driving with all my goods and chattels. It was a huge treat. It was calm and clear, really important for me…”

Fishermen on Skagen Beach by Peder Severin Krøyer (1883)

In his painting, Fishermen on Skagen Beach, several fishermen are shown relaxing on the beach, two of them are catching up on some sleep. The sense of tranquility of this scene is reinforced by a calm sea. This is one of those depictions which invites the viewer to mull over what is going on. Have they had a successful day or had it been a day to forget? Whatever happened they seem to now be exhausted.

Fishermen on the Beach on a Peaceful Summer´s night by Michael Ancher (1881)

Michael Ancher was the first of the Skagen painters to settle in Skagen during the summer of 1881. In his work entitled Fishermen on the Beach on a Peaceful Summer´s night Michael Ancher depicts a group of fishermen from Skagen talking on the beach on a sunny summer evening. What are they chatting about? Perhaps they are exchanging news from Skagen, or simply planning tomorrow’s next fishing expedition. Ancher was a realist who always used living models, preferably fishermen and he knew their individual names and through his depiction they have come to life. They have had a hard life battling the elements which can be seen by their heavily lined faces. This painting which is owned by the National Gallery of Denmark, is currently exhibited in the Danish Parliament.

Fisherman Coming to Shore by Michael Ancher

Michael Ancher has depicted a completely different portrayal of a fisherman than the previous paintings. This is not a relaxed study of a fisherman, quite the opposite. Observe the fiercly determined look on the face of the fisherman in Ancher’s painting entitled Fisherman Coming to Shore. He is trying to steer the boat to the safety of the shore whilst battling against a mighty following sea which makes steering almost impossible.

On the Quay, Newlyn by Walter Langley

Between the Tides by Walter Langley (1901)

Walter Langley, the son of a journeyman tailor, was born on June 8^th 1852. At the age of fifteen, he was apprenticed to a lithographer and six years later he won a scholarship to South Kensington School where he studied design for two years. He returned to Birmingham but took up painting full-time, and in 1881 was elected an Associate of the Royal Birmingham Society of Artists (RBSA). In that year, aged twenty-nine, he received a £500 commission for a year’s work by the Birmingham-based photographer Robert White Thrupp, a wealthy patron, to spend twelve months in the Cornish town of Newlyn, and pictorially record the lives of the fisherfolk. Having been brought up in a poor working-class family environment Langley could empathise with the hardship faced by the fishing community and his paintings often depicted stories of family tragedies and loss of loved ones.

Among the Missing by Walter Langley

Never Morning Wore to Evening but Some Heart Did Break by Walter Langley (1894)

The painting, Never Morning Wore to Evening but Some Heart Did Break, was completed by the English artist Walter Langley in 1894. The painting today, as was the painting before, is about loss. The title of the painting emanates from Canto VI of Tennyson’s poem In Memoriam, which reads:

That loss is common would not make
My own less bitter, rather more:
Too common! Never morning wore
To evening, but some heart did break

The painting, Never morning wore to evening, but some heart did break depicts a young woman being comforted on the quayside at Newlyn harbour by Grace Kelynack, the elderly widow of a Newlyn fisherman.

Old Grace by Walter Langley (1894)

Langley had also completed a portrait of Grace Kelynack entitled Old Grace.

The Ninth Wave by Ivan Aivazovsky (1850)

One of my favourite seascape paintings by Aviazovsky is his 1850 work entitled The Ninth Wave. It is also probably his best-known work. The title refers to a popular sailing legend that the ninth wave is the most terrible, powerful, destructive wave that comes after a succession of incrementally larger waves. In his painting, set at night, he depicts a raging sea, which has been whipped up by a storm. In the foreground we see people clinging to the mast of a vessel which had sunk during the night. Note how the artist has depicted the debris the people are clinging to in the shape of a cross and this element can be looked upon as a metaphor for salvation from the earthly sin. One wants to believe that the desperate will to survive will triumph over the raging ocean. The people clinging to the debris are lit by the warmth of breaking sunlight and this gives one to believe that they may yet be saved. For a life-or-death depiction the painting is not a gloomy one. In fact, it is full of light and air and thoroughly transfused by the rays of the sun which endows it with a feeling of optimism. The painting was originally acquired for the State Russian Museum of St Petersburg and was one of the first paintings in the collection of the Emperor Alexander III Russian Museum in 1897.

The Rainbow by Aviazovsky (1873)

Another of Aivazovsky’s works which is part of the Tretyakov Museum collection in Moscow is his painting entitled The Rainbow which features a sailing ship foundering on rocks while two lifeboats full of sailors from the doomed vessel are battling against the fierce seas as they try to manoeuvre their boats ashore. It is a truly remarkable work in which Aviazovsky created a scene of a storm as if seen from inside the raging sea. In the foreground, we see the sailors who have taken to a lifeboat and abandoned their sinking ship which had foundered on the rocky shoreline. They had spent the whole night in the boat. Suddenly they see a rainbow and feel that all is not lost. The reflection of the rainbow can just be seen to the left of the painting. Fyodor Dostoevsky, the Russian novelist, was an admirer of Aivazovsky’s art and The Rainbow was his favourite work. Of the painting, Dostoevsky wrote:

“…This storm by Aivazovsky is fabulous, like all of his storm pictures, and here he is the master who has no competition. In his storms there is the trill, the eternal beauty that startles a spectator in a real-life storm…”

The Shipwreck by J.M.W Turner (c.1805)

Storms and shipwrecks were a popular theme for paintings during J.M.W.Turner’s life. He completed his painting The Shipwreck around 1805. It depicts fishermen battling the huge waves as they attempt the rescue of an overcrowded lifeboat. In the painting, we see a ship foundering and about to capsize and sink in the dark seas. Turner was fascinated by this dramatic theme which conveyed the danger of life at sea. To get us to better appreciate the peril the seafarers had to endure he places us close to the drama and with no sight of land it is as if we are part of the rescuing crews as they battle the ferocity of the sea,

It is thought that Turner was inspired by the re-publication in 1804 of the fourth edition of William Falconer’s poem, The Shipwreck, which was illustrated by another marine painter Nicholas Pocock, part of which (3^rd Canto, lines 640-645) is below:

Again she plunges! Hark! A second shock

Tears her strong bottom on the marble rock!

Down on the vale of death, with dismal cries,

The fated victims shuddering roll their eyes,

In wild despair; while yet another stroke,

With deep convulsion, rends the solid oak.

The fourth edition of William Falconer’s The Shipwreck was published in 1772. This poem in three cantos of more than 900 lines each, recounts the final voyage of the merchant ship Britannia and her crew. This fourth edition of The Shipwreck is the first edition of the poem to be published after Falconer’s death, ironically due to a shipwreck. Falconer had been appointed purser onboard the frigate Aurora in 1769 when it was lost after rounding the Cape of Good Hope. An introduction to a 1798 edition of Falconer’s works supposes the loss was caused by the Aurora catching fire after rounding the Cape.

The Storm on the Sea of Galilee by Rembrandt (1633)

A marine painting with a biblical connotation is the one by Rembrandt von Rijn entitled The Storm on the Sea of Galilee which he completed in 1633. It was one of his earliest large format works. It depicts a close-up view of Christ’s disciples as they grapple to gain control of their fishing boat. A large wave has crashed into the side of the boat, swamped the deck and ripped the mainsail. The vessel lurches dramatically in the rough sea. We see one of the disciples leaning over the side of the boat being sick. A man faces us as he clings hold of the rigging. This is a self-portrait of the artist. All the people on board the vessel are panic-stricken, except for one, Christ, who can be seen on the right, calmly looking ahead. The depiction is based on a passage from the bible (Luke 8: 22-25):

22 One day Jesus said to his disciples, “Let us go over to the other side of the lake.” So they got into a boat and set out. 23 As they sailed, he fell asleep. A squall came down on the lake, so that the boat was being swamped, and they were in great danger.

24 The disciples went and woke him, saying, “Master, Master, we’re going to drown!”

He got up and rebuked the wind and the raging waters; the storm subsided, and all was calm. 25 “Where is your faith?” he asked his disciples.

In fear and amazement they asked one another, “Who is this? He commands even the winds and the water, and they obey him.

In the third and final part of these blogs featuring marine art I will be looking at paintings that extoll the joys of the sea and shoreline.

Holger Drachmann

The Artist, the Poet, the Lover of Women.

The subject of this week’s blog is the nineteenth century Danish poet, dramatist and painter Holger Drachmann. Holger Henrik Herholdt Drachmann was born on October 9^th, 1846 in Copenhagen. He was the son of Andreas Drachmann and his wife Vilhelmine. Holger was one of five children, having an older sister, Erna and three younger sisters, Mimi, Johanne and Harriet.

His father. Andreas, initially trained as a barber whilst studying for his medical exams. In 1831 he was an assistant to a surgeon in the Danish navy and eventually passed his exams to become a surgeon in 1836. He left the navy in 1845 and became a physician at Langgaard’s orthopaedic institute and in 1859 he founded the first institute of medical gymnastics in Copenhagen.

*Coastal party north of Årsdale, by Holger Drachmann (1869.)*

In March 1857, when Holger was ten years old, his mother Vilhelmine died. She was just thirty-six years old. Once he completed his schooling in 1865 he went to University where he remained for three years. He then transferred to the Academy of Fine Arts and studied under Carl Frederik Sørensen, a noted marine painter and soon Holger developed a love for that painting genre. Art was a great love of Holger but around this time he developed another love, a love of literature.

*View of the island of Maïre west of the Goudes district, Marseille by Holger Drachmann*

This painting above is thought to have been painted by Holger during his voyage around the Mediterranean in 1867.

The beauty and ferocity of the sea is captured in Drachmann’s painting entitled Rocky Coast. It depicts the unstoppable waves of the blue-green sea crashing violently against a towering rock formation in the foreground of the painting. To the left, we see heavy grey storm clouds. It is a depiction which is devoid of figures and one’s focus is simply concentrating on the violent force of nature. There is nothing noted as to the location of the scene but during his lifetime he visited many places, such as the Orkney Isles, and Norway, with their rocky coasts and archipelagos or it could have been locations in Newfoundland or Nova Scotia, places he visited during his long trip to North America.

*Våde ovn, Bornholm. by Holger Drachmann*

To further his interest in marine painting, Holger went to stay on the island of Bornholm. This Danish island is located in the Baltic Sea, to the east of mainland Denmark, and south of Sweden. It was here he painted a number of seascapes. One of his Bornholm paintings depicted Vade Ovn, a notable rock or group of rocks attached to the underlying bedrock. It is a grotto, part of the area known as Helligdomsklipperne.

A wreck hut on Skagen’s beach by Holger Drachmann

The Skagen artists’ colony is now as famous as the ones at Barbizon or Newlyn and Holger Drachmann was an important figure in the history of the Skagen artists’ colony, for it was he, who first arrived there in 1872 together with Norwegian Frits Thaulow, and he then persuaded many artists to go there with him during the following years. He fell in love with the area with its breath-taking nature and the simple life it afforded people.

View from Knippelsbro with the Sugar Factory by Holger Drachmann

*Fishing boats in Stormy Weather by Holger Drachmann*

Besides his love of painting and fame as an artist, Holger Drachmann had two other great loves. He had the love of literature and poetry and was a renowned poet. He was part of the Scandinavian Modern Breakthrough Movement which was a movement of naturalism and which debated the literature of Scandinavia, which replaced romanticism near the end of the 19th century.

Around 1870, Drachmann became motivated by the writings of the Danish critic and scholar Georg Brandes, who had greatly influenced Scandinavian and European literature. It was a time when art became secondary to literature in Drachmann’s life. He had travelled quite extensively around England, Scotland, France Spain and Italy and had started a habit of sending accounts of his travels to the Danish newspapers.

Drachmann made his debut in 1872 as a prose writer with the collection With Coal and ChalkIn and that same year he had a book of his poems entitled Digte (Poems) published. He also joined the group of young Radical writers who were also followers of Brandes. For Drachmann it was a time of contemplation and soul searching as to whether painting or writing would be his prime driving force. Drachmann established his position as the greatest poet of the Danish modern movement of his time with such collections as Dæmpede Melodier (1875; “Muted Melodies”), Sange ved Havet (“Songs by the Sea”) and Venezia (both 1877), and Ranker og Roser (1879; “Weeds and Roses”). The prose Derovre fra Grænsen (1877; “From Over the Border”) and the verse fairy tale Prinsessen og det Halve Kongerige (1878; “The Princess and Half the Kingdom”), demonstrated a patriotic and romantic trend that brought him into conflict with the Brandes group. Drachmann was one of the most popular Danish poets of modern time though much of his work is now forgotten. He unites modern rebellionist attitudes and a really romantic view of women and history.

*Kristian Zahrtmann – Portrait of Vilhelmine Erichsen (1867)*

Earlier I said that Drachmann had two great loves other than his art. He loved writing and poetry as I have just recorded but his other great love was women !

Whilst on the island of Bornholm in 1869, Holger Drachmann met his first wife Vilhelmine Charlotte Erichsen, She had been a good friend and muse for both Drachmann and another artist, Kristian Zahrtmann who was also living on Bornholm and who had painted her portrait when she was fourteen-years-old. Zahrtmann was besotted with the young girl who modelled for him. In a letter in 1868 to his friend and fellow artist August Jerndorff , he wrote:

“…I have had a young girl of mine of mine painting who interests me greatly. An adorable child – she is 16 years old – cannot be seen; After all, she is at an unfortunate age for most people, to which is added an extraordinary height and width, a short neck and stooped posture, but these are flaws that only all the more accentuate her beauty. A more regular face is unthinkable- – Her hair and eyes are almost black, her mouth bulging, and the pale yellow color, with its vexing and the utterly regular, narrow eyebrows, becomes so southern and melancholic dreamy that I can be so seized by it that the brush shakes in my hand. She herself does not know that she is beautiful, on the contrary, I think that she considers the yellow-laden color hideous, and at all she knows very little, both of knowledge and of what life is and gives…”

Marie Henriques (on the left) and Eva Drachmann painting, probably at the Art School for Women in Copenhagen, (c.1900)

But three years later, in 1869, when she was seventeen, Vilhelmine fell in love with twenty-three-year-old Drachmann and they got engaged. Two years later, on November 3^rd 1871 Holger and nineteen-year-old Vilhelmine married in Gentofte Sogn, København. To be able to marry Vilhelmine had to lie about her age, declaring that she was twenty-one. Holger was twenty-five years old and so did not need her parents’ permission for the marriage. On November 4^th 1874 they had a daughter, Eva, but at the end of that year, they separated and finally divorced in 1878. It was a bad-tempered divorce and in a fit of rage Vilhelmine destroyed all correspondence and manuscripts from Holger that she possessed. Eva Drachmann wrote about her mother and father in her 1953 book Vilhelmine, my mother:

“…They divorced after 4 years of marriage. As the poet’s muse, Vilhelmine had entered into a cohabitation of whose seriousness and difficulties none of them had the slightest concept. Of the two, she was the largest child. She didn’t have time to grow up before it was all over. As an old woman, she reflected on how fateful the disaster came………. After all, in childhood and growing up, she had done nothing useful – nothing but dream…”

Eva Drachmann married for the first time in 1899 and the ceremony was held in a local manor house as the parish priest of the local Flade Church, refused to marry the couple in the parish church, citing Eve’s father’s godless lifestyle.

Polly Culmsee

Around 1866, three years before he met his first wife, Vilhelmine, Holger Drachmann had struck up a friendship with Valdemar Culmsee, the son of Frederick Culmsee, the owner of the Havreholm Paper Mill on the Danish island of Zealand. It was during a visit to their home in 1866 that he met Emmy Culmsee, Valdemar’s twelve-year-old sister and her older sister Polly who was sixteen. Polly had later married Charles Thalbitzer and had two children with him but around the time Holger Drachmann and his wife had separated in 1874 she had a relationship with Holger and had his child, Agnes Gerda. Polly eventually divorced her husband and she and Holger left Denmark for Sweden because of the social scandal they had created in Copenhagen. They intended to be married in Paris when Drachmann was legally divorced from his wife. Now living in the Swedish town of Lund, Polly fell ill and Drachmann took her to a local doctor, Alphons Theorin, and sought his help with the care of Polly. Bizarrely, Polly transferred her affection from Holger to the doctor who in turn fell passionately in love with his patient which created yet another scandal as the doctor abandoned his wife and their three children and ran off with Polly to the central Swedish town of Sveg, where he managed to arrange a position as a provincial doctor.

Emmy Culmsee

The bizarre story of Holger Drachmann love life does not end there. Polly’s younger sister Emmy had moved with her parents to Kristiania, where she stayed until she travelled to Hamburg in 1876 to study languages and it was in this German city that she once again met Holger. He told her he was devastated by a relationship break-up and she was very comforting. However he failed to impart to her that the relationship had been with her married sister, Polly. On finding out about the involvement of her sister she broke off with Holger and settled into a life as a German language teacher. However, in 1878 whilst on holiday in Hamburg, out of the blue, she received a call from Copenhagen from Holger Drachmann’s married sister Erna Juel-Hansen. She told Emmy that Holger had suffered a breakdown when Polly left him. Emmy went to Copenhagen and cared for Holger and nursed him back to full health. Emmy and Holger married and they adopted his and Polly’s daughter, Agnes Gerda. Emmy and Holger went on to have four more children of their own.

Amanda Jensine Nielsen (Edith)

Sadly in 1887 Holger, for whatever reason, began an affair with Amanda Jensine Nielsen a cabaret artist in Copenhagen, despite the fact that he was married and twice her age. He and Amanda became lovers and he would refer to her as Edith. He even mentioned her in his 1890 novel Forskrevet, a depiction of Denmark in 1880 and the then political dispute between Right and Left, as well as the cultural dispute between citizen and bohemian

Holger Drachmann by Peder Severin Kroyer

Eventually Holger grew tired of his affair with Edith and moved on to another young actress. His many scandalous affairs with his “muses” were often the fuel of his inspiration. On his deathbed he said that his two biggest muses were Vilhelmine and Edith.

Drachmanns Hus in Skagen

Holger Drachmann died in Copenhagen on January 14^th 1908, aged 61. He is buried in the sand dunes at Grenen, near Skagen and following his death his Skagen home, Drachmanns Hus, became a museum.

Eilif Peterssen

My featured artist today is one who produced many paintings of differing genres, such as history paintings, landscape and seascape paintings and portraiture.

Hjalmar Eilif Emanuel Peterssen was born on September 4th, 1852 in Christiania, (known as Oslo since 1925), and spent his early life in the Christiania borough of Frogner. He attended the local schools and at the age of seventeen enrolled at the city’s Johan Fredrik Eckersberg School of Painting. This painting school, on Lille Grensen in Christiania, had been established in 1859 by the Norwegian artist, Johan Fredrik Eckersberg. After Eckersberg’s death in 1870, the running of the school was taken over by two Norwegian painters Knud Bergslien and Morten Müller.

Eilif Peterssen by Peder Severin Kroyer (1883)

From there, in 1871, Peterssen went to Denmark and studied briefly at the Art Academy in Copenhagen. Later that year, Peterssen travelled to the German city of Karlsruhe where he attended the Academy of Fine Arts and was student of Ludwig des Coudres, the German history and portrait painter and first director of the academy, and the German landscape painter, Wilhelm Riefstahl. Also resident professor at the Academy was Hans Gude, who was considered to be one of Norway’s foremost landscape painters. Another painter who influenced Peterssen during his stay in Karlsruhe was the history painter Carl Friedrich Lessings and his richly landscaped landscapes with historical scenes. Lessings was a director at the Academy.

In the Autumn of 1873, Peterssen moved to Munich he became a pupil at the city’s Academy of Fine Arts and one of his tutors was Wilhelm von Diez, the German painter and illustrator of the Munich School. He also spent time studying under Franz von Lenbach.

Christian II signing the Death Warrant of Torben Oxe by Eilif Peterssen

Every successful artist needs to have had a breakthrough painting, one which announces his arrival on the art scene. For Peterssen his breakthrough work was an historical painting he completed in 1876 entitled Christian II Signing the Death Warrant of Torben Oxe. The story behind the depiction is from sixteenth century history of the Nordic countries. Christian II was the last Roman Catholic king of Denmark and Torben Oxe was a noble who was appointed Governor of Copenhagen Castle. In the summer of 1517, Dyveke Sigbritsdatter, the king’s mistress, fell ill and died and Torben Oxe was accused by Dyveke’s mother of her daughter’s murder by poisoning her through a box of cherries. Christian II believed the accusation and condemned his friend Oxe to death. In the painting we see Christian, unmoved by the momentous event, signing the death warrant. His wife, is at her husband’s left and is seen pleading with her husband for Oxe’s life. Oxe was beheaded, and his body burned.

Three Women in Church by Wilhelm Leibl (1878-81)

Eilif Peterssen’s portraiture had become very popular and besides his commissioned works he would paint many un-commissioned portraits of people. In my Daily Art Display of March 1^st, 2011, I showcased an oil on mahogany masterpiece by the acclaimed German realist artist Wilhelm Liebl entitled Three Women in a Church. He started the work in October 1878 and did not complete it until December 1881. It is a depiction of three women of three different generations, dressed in regional costumes, sitting in a church.

In 1878 Peterssen completed a very similar depiction, Under Salmesangen (In the Church). Again, like Liebl’s work, Peterssen has depicted three women of different generations sitting together. The old lady, dressed in widow’s garb is seated in the centre with her hands clasped in prayer and rosary beads dangling from her wrists. She looks upwards as she prays. Maybe she is asking for divine strength to carry on with life. To her right sits a young girl, curls of her red hair lay across her forehead and to the old lady’s left sits a young woman, who with folded hands, demurely peruses her hymn book. I like the way Peterssen has depicted the facial expression of the young woman – shy and demure, and lost in thought.

Judas Iskariot by Eilif Peterssen (1878)

In the same year he painted a religious work entitled Judas Iskariot which is housed in the Nordnorsk Kunstmuseum in Tromso. The light from the lamp that Judas is carrying lights up the face of Christ. I am fascinated by Peterssen’s depiction of Christ’s facial expression in the painting.

Mary, Christ’s Mother by Eilif Peterssen (1877)

The previous year, 1877, Peterssen was invited to participate in a competition to produce an altarpiece for the newly built church of St Johannes in Oslo. He was then commissioned to paint a crucifixion scene part of which would be his depiction of the Virgin Mary entitled Mary, Christ’s Mother. The brown and red tones he used in this portrait were similar to the ones he used in his depiction of Judas Iscariot and was influenced by the brownish palette of the Munich School painters.

In 1879, aged twenty-seven, Eilif Peterssen married Nicoline Gram, the daughter of Major General Johan Georg Boll Gram, the Court Marshal.

Breakfast in Sora by Peder Severin Krøyer (1880)

Peterssen and his wife Nicoline visited Sora, a town in the Italian commune of Lazio, in 1880 together with the Danish painter Peder Severin Krøyer, and this was captured in Krøyer’s painting Breakfast in Sora which depicted himself with Nicoline and Eilif Peterssen, and the painter Christian Meyer Ross.

Siesta i et osteria i Sora by Eilif Peterssen (1880)

Peterssen also documented his stay to the mountain village of Sora with his 1880 painting set in an Osteria, a place for serving wine and simple food, Siesta in an Osteria in Sora.

Kunstnerens hustru Nicoline Peterssen, født Gram (The Artist’s Wife Nicoline Peterssen, born Gram) by Eilif Peterssen

Sadly, the Peterssen’s marriage to Nicoline lasted just three years as Nicoline died in 1882, aged thirty-two. Eilif painted a picture of his wife entitled Kunstnerens hustru Nicoline Peterssen, født Gram (The Artist’s Wife Nicoline Peterssen, born Gram). I think it is a somewhat unflattering depiction of his wife.

Moonrise over the Dunes by Eilif Peterssen (1883)

A year after his wife’s death, Peterssen went to the Danish artist colony of Skagen in the summer of 1883. Since the 1870’s, the Northern Danish coastal village of Skagen was a summer meeting place for a group of Scandinavian artists, such as the husband and wife pair, Michael and Anna Ancher, Christian Krohg and Peder Severin Krøyer. The area around the village attracted the plein air artists because of its scenic delight and the quality of light. It was often compared to what the Barbizon School of painters found in and around the Forest of Fontainebleau. One painting completed during his stay at Skagen was his moonscape, Moonrise over the Dunes.

Petersen travelled around Europe, visiting France and Italy during the next couple of years including visiting Venice in 1885 accompanied by Frits Thaulow. Whilst visiting Paris in 1884 he completed a beautiful landscape work entitled Landscape from Meudon, France which is a depiction of the Seine riverside by the town of Meudon, a municipality in the southwestern suburbs of Paris.

Portrait of Edvard Grieg by Eilif Peterssen (1891)

Peterssen eventually returned to Norway in 1886 and established himself as a skilful portrait artist.

Portrait of Norwegian Author Henrik Ibsen by Eilif Peterssen (1895)

Two well-known Norwegian personalities featured in portraits by Peterssen, the composer Edvard Grieg and the writer Hendrik Ibsen.

It was in 1886 that Peterssen completed his most famous work and one which caught my eye and one that made me research into his life and other works. The oil on canvas painting was entitled Sommernatt (Summer Night), which is housed in the National Museum of Art, Architecture and Design – The National Gallery, Oslo, came about when Peterssen along with a group of artist friends, including Norwegian painters Christian Skredsvig, Gerhard Munthe, Kitty Kielland, Harriet Backer, and Erik Werenskiold, some of whom he had met whilst a student in Munich stayed at a farmstead in Fleskum, just outside of Oslo which was owned by painter and writer, Christian Skredsvig, who like Peterssen was a pupil at the Eckersberg drawing and paint school in Christiania and a student at the Munich Academy of Fine Arts. In the history of Norwegian art, the Fleskum artists’ colony was a significant breakthrough of plein-air painting in Norway and heralded the arrival of Neo-Romanticism in Norway. Peterssen’s Summer Night was the most important to come out from that 1886 Fleskum gathering. As observers we stare down at the still water of the lake during the last light of a summer’s day. Strangely, there is little shown of the sky, but the reflection of the crescent moon is a reminder of the clear sky above. Some have suggested at a hint of symbolism with this painting with the contrast between the sturdy upright tree in the right foreground and the dead birch tree, to the left, which has died and rotting, having fallen lifelessly into the lake. Is this symbolic of life itself, from sturdy youthful growth to inevitable death?

The following year, 1887, Peterssen completed his painting Nocturne, which was the same view of the lake as in his Summer Night painting, but this time he has added some flowers, and a nude.

In 1888, six years after his first wife died, Peterssen re-married. His second wife was Frederikke Magdalene (“Magda”) Kielland, daughter of Lieutenant Commander Jacob Kielland.

Sunshine, Kalvøya by Eilif Peterssen (1891)

Like many painters in the late nineteenth century Peterssen was aware of the work of the French Impressionists. One of his works which is often likened to Impressionism style, with its broad-brush strokes used to depict the foliage, was his 1891 work entitled Sunshine Kalvøya, which is one he painted whilst he and his wife were on the island of Kalvøya, which lies off the town of Sandvika, about twenty miles west of Oslo. This is a depiction of Peterssen’s second wife and so the painting is often referred to as Magda Sewing. We see her absorbed in her needlework surrounded by a lush green landscape, lit up by the full summer sun. It is a veritable depiction of peace, tranquillity, and contentment

From the Norwegian Archipelago by Eilif Peterssen (1894),

One of Peterssen’s favourite haunts was Sele on the west coast of Norway and the views of the many small islands separated by the branchlike Inner Leads which separate the small islands. His 1894 painting, From the Norwegian Archipelago, depicts a view of these inner leads. In the right foreground of this exquisite work we see a woman standing amongst the low vegetation. She is wearing traditional clothes and is busy with her knitting. She leans back against a low multi-coloured dry-stone wall. On the other side of the lead we see several red roofed houses and crofts. A sailing boat in full-sail goes past, navigating the blue waters.

Kveld, Sele (Gedine on a Hillock) by Eilif Peterssen (1896)

Another painting completed by Peterssen in 1896 was set in Sele. It is entitled Kveld, Sele (Gedine på haugen) – Evening, Sele (Gedine on a Hillock). The painting takes in the beautiful colours brought on by the setting of the sun at dusk. In the foreground we see a young girl, Gedine, a friend of Peterssen sitting on a hillock made of large grey stones. She is lost in contemplation as she gazes out across the flat landscape towards the sea.

On the Look-out by Eilif Peterssen (1889)

A third painting completed by Peterssen and set on Sele which I really like, is his 1889 work entitled On the Look-out. In the painting we see five men, four lying on the sand and one seated, all gazing seawards, almost certainly trying to catch a glimpse of the returning fishing fleet.

Old House in Normandy by Eilif Peterssen (1896)

Eilif Peterssen, during his lifetime, made several trips to France and Italy. In 1896 he went to Arques-la-Bataille, a small commune in the Seine-Maritime department of Normandy, a few miles south of Dieppe. It is a beautiful area where three rivers, Eaulne, Varenne and Béthune converge and in close proximity of the Forest of Arques. It was during his time here that he completed several landscape paintings including Old House in Normandy.

At the start of the twentieth century Peterssen became interested in Symbolism and was influenced by the colourful work of the Pre-Raphaelite painters. Around this time, he completed a number of works focused on French medieval legends. Even during his later life Peterssen continued to travel tirelessly around his own country and even though a few years from his seventieth birthday he was still able to make the long journey to the South of France visiting the small towns of Cagnes and St Paul in Provence.
Hjalmar Eilif Emanuel Peterssen died in Lysaker, a town close to Oslo, on December 29th 1928, aged 76.

Frits Thaulow. Part 1 – the early days.

Portrait of Frits Thaulow by Christian Krohg

As a painter, I wonder whether you have a favourite motif. Is there one aspect of your landscape work, maybe the sky, maybe trees, etc., which you feel that you excel at? If so, do you try and incorporate that feature into many of your paintings? My artist today seems to be a virtuoso when it came to depictions of water and the reflections on the surface and so many of his paintings include stretches of water. Let me introduce you to the Norwegian Impressionist landscape painter Johan Frederik Thaulow, better known as “Frits” Thaulow.

An Orchard on the Banks of a River by Frits Thaulow

Johan Frederik Thaulow was born on October 20^th, 1847 in the Norwegian capital, Christiania (renamed Oslo in 1925). He was one of ten children. His father was Harald Conrad Thaulow, a wealthy pharmacist and his mother was Nicoline (“Nina”) Louise Munch. In order to satisfy his father’s wishes he carried on with his normal school and college studies and eventually attained a doctorate but his real love was for art and specifically maritime art and so, in 1870, aged twenty-three, he went to Copenhagen to try to become a marine painter.

Sailing Ships in the Strait South of Kronborg by Carl Frederik Sorensen (1857)

He enrolled on a two-year course at the Academy of Art in Copenhagen and one of his tutors was Carl Frederik Sørensen, the great Danish marine painter, whose paintings often depicted the relationship between weather and the effect it had on sea conditions.

In 1873, Thaulow left Copenhagen and travelled to Karlsruhe where, for two years, he attended the Baden School of Art. At the time one of the professors lecturing at the academy was the Norwegian Romanticist landscape and marine painter, Hans Fredrik Gude.

Gude had previously been a professor at the Düsseldorf Academy of Art and through his popularity especially with his fellow countrymen, had built up a sizeable number of Norwegian students. When he left the Academy to take up a post at the Baden School of Art many followed him.

In October 1874, Thaulow married Ingeborg Charlotte Gad, whose sister Mette-Sophie Gad had married Paul Gaugin, and a year later the couple had a daughter, Nina, but the marriage ended in divorce in 1886. In September of that same year, Thaulow re-married. His second wife was Alexandra Lasson, the daughter of Carl Lasson, a noted Norwegian attorney. Alexandra was fifteen years younger than Thaulow. The couple went on to have three children, two sons and a daughter. Harald was born a year after the marriage, Ingrid born in 1892 and Christian who was born in 1895.

High Tide, Le Havre (1878) by Frits Thaulow

In 1875, Thaulow departed Karlsruhe and journeyed to Paris where he lived for most of the next four years. During his time in the French capital he concentrated on his marine and coastal paintings whilst also absorbing the exciting times of the French art scene. The year before his arrival, the Impressionists had held their first exhibition at the former Parisian studio of the photographer Nadar at 35 Boulevard des Capucines Another influence on Thaulow was the work of the French realist painter, Jules Bastien-Lepage. Thaulow believed in realism in art and considered that his fellow Norwegian artists should also consider this genre. Paris had always been popular with aspiring artists and had been fashionable among Norwegian artists. Thaulow became part of a group of Scandinavian landscape painters living in Paris, and worked with the Swedish painter Carl Skanberg, who was famous for his coastal, harbour paintings.

In the autumn of 1879 Thaulow left Paris and along with his friend and fellow artist Christian Krohg, a naturalist painter, illustrator, author, and journalist, and then the two arrived at Skagen from Norway in Thaulow’s little boat. Skagen was situated on the east coast of the Skagen Odde peninsula in the far north of Jutland. In the late 1870’s until the end of the nineteenth century, Denmark’s Skagen Art Colony became a magnet to numerous artists in the summer months who were drawn to the isolated fishing village and the quality of the light. The twilight of the early morning and evening was often referred to as the “blue hour” during which the sun is at a sizable depth below the horizon and this is a time when the remaining, indirect sunlight takes on a predominantly blue shade.

The Skagen area also provided beautiful and unspoiled landscapes and seascapes. The artists were hailed as part of a modern breakthrough movement, which wanted to abandon the academic tradition of neoclassical painting styles which was taught at the Academy of Fine Arts in Copenhagen and in its place these artists decided to follow the dictates of realism and naturalism which was part of the ethos of the Barbizon plein-air painters. They also became followers of the impressionist movements and by doing so, they could portray everyday life and everyday people in an un-idealized way. It was here that Thaulow’s depictions concentrated on the lives of the fishermen and the boats which had been dragged up onto the shore.

Evening at the Bay of Frogner by Frits Thaulow (1880)

After his stay in Skagen, Thaulow returned to Norway in 1880. He became one of the leading young figures in the Norwegian art scene, together with Christian Krohg and Erik Werenskiold and with them organised the first National Art Exhibit in late 1882, known as the Høstutstillingen or Autumn Exhibition. This first Høstutstillingen was held in Oslo as a radical protest the established bourgeois dominance of the Christiania Art Society and these three organisers decided that they would not let, unlike the Christiania Art Society, an artist jury to decide what could be included in the exhibition.

Thaulow spent the next twelve years in Norway. It was a period during which Realist painting based on the French model was accepted in Norway. And Thaulow’s personal interpretation of the Norwegian landscape was generally believed to be new. Although based in Norway he made several trips abroad visiting Scotland and Venice and returning to Paris

View of Overgaden, Christianshavn by Frits Thaulow (1881)

One of my favourite works by Thaulow is one he completed in 1881 entitled View of Overgaden, Christianshavn. Christianshaven is a district of Copenhagen and the Christianhaven Canal bisects the neighbourhood. Christianshavns Kanal is now noted for its bustling sailing community with numerous houseboats and sailboats, particularly in the northern half of the canal. Overgaden oven Vandet and Overgaden neden Vandet are the two streets running along each side of the waterway. Beside Thaulow’s masterful depiction of the water, look at the detailed portrayal of the buildings and cobbled walkways.

………………………………………….. to be continued.

The Skagen Painters, Part 2 – Mr and Mrs Krøyer

Double Portrait of Maria and P.S. Krøyer by Maria and Peter Severin Krøyer (1890)

As promised in my last blog featuring the Skagen husband and wife painters, Michael and Anna Ancher, My Daily Art Display today features another married couple who resided in Skagen, Denmark and were leading lights of the Skagen artist commune. Their names were Marie and Peder Severin Krøyer.

Marie Martha Mathilde Triepcke was one of three children born to German parents in the Danish capital of Copenhagen in June 1867. She developed an early love for art and following normal schooling she decided that her future lay as an artist. For a female to train to become an artist in Denmark in those days was very difficult as women were not allowed to enrol on art courses at the Danish Royal Academy of Art and so she had to study drawing and painting at private schools. One of these art schools was the Kunstnernes Frie Studieskoler, a Copenhagen art school which had opened in 1882 as a protest against the policies and rigid dictates of the Royal Danish Academy of Fine Arts and by so doing offered an alternative to the Academy’s rigid educational program. The artist who looked after the new students was the Danish painter, Kristian Zartman. Another teacher at the art school when Maria attended was the young artist Peter Severin Krøyer. During her time at these private art establishments she received tuition in model drawing as well as some landscape, still life and portraiture. She and other artists, both male and female, were encouraged to spend time in the countryside and paint en plein air. In 1887, when she was twenty years of age she made her first trip to Skagen which had by this time become home to a flourishing artist colony.

Two years later in December 1888 at the age of twenty-one she left Denmark and travelled alone to Paris to live and further her artistic education. She studied at a number of studios including those of the French painters, Gustave Courtois and Alfred Roll. One of the studios she worked in was run by the French painter, Pierre Puvis de Chavannes and it was whilst working in his atelier she became great friends with a fellow co-worker Anna Ancher, who along with her husband Michael, featured in my last blog. Marie soon became one of the Parisian “Scandinavian artistic-set” and one of these fellow artists was Peter Severin Krøyer whom she had met before in Copenhagen. Who knows why, but suddenly the relationship between Peter and Marie intensified and they fell in love. It was a whirlwind romance because in July 1889, within six months of their Paris meeting they were married.

Peter Severin Krøyer was sixteen years older than Maria. Although he is often looked upon as a Danish painter, in fact he was born in the Norwegian town of Stavanger in July 1851. His entry into the world was not without trauma as when he was just a young baby; he was taken from his mother, Ellen, as she was considered unfit to look after her son due to being mentally ill. Peter went to live in Copenhagen where he was brought up by his maternal aunt and her husband. At the age of nine, because of his love of drawing, they arranged for him to attend art classes at a private school. A year later, he was enrolled at the Copenhagen Technical Institute. From there he attended the Royal Danish Academy of Art and in 1870, at the age of nineteen, he completed his formal studies. He, like many aspiring artists, began exhibiting his work at the Charlottenborg Palace in Copenhagen and his big breakthrough came in 1874 when the tobacco magnate Heinrich Hirschsprung bought one of his works. Hirschsprung would become one of Peter Krøyer’s patrons and funded his early European travels. This connection with Hirschsprung also had a connection with his wife-to-be Marie, as her childhood school friend was Ida Hirschsprung whose uncle was Heinrich and it was through Ida that Marie came into social contact with the Hirschsprungs and their circle of friends including Peter Krøyen.

Marie Triepcke actually sat for Krøyen for his 1877 painting entitled The Duet. She is the woman in red at the left of the painting.

For the next five years Krøyer travelled extensively visiting Spain and Italy as well as spending summer months in Brittany, all the time honing his artistic skills. During the late 1870’s he would also come across the “new kids on the block” – the young French impressionists such as Monet, Sisley, Degas and Renoir. However Krøyer was more attuned to the academic painters of the time. After roaming for those five years he finally returned “home” to Denmark and in late 1881 and in the summer of 1882 he went to Skagen. He was so enamoured by this area that he bought himself a home there and it was here that he spent his summers before returning to his Copenhagen apartment in the winter months to work in his studio. Between 1882 and 1904 Krøyer was a leading figure at the newly founded Kunstnernes Frei Studieskoler where he oversaw the life drawing classes which allowed students to draw and paint images of live nudes, an art form which, at the time, was not allowed at the Royal Danish Academy of Fine Arts.

Marie Krøyer returned to Skagen with her husband Peter in 1891 and became part of the Skagen artists’ commune. Once married, her artistic output lessened for she was concentrating on interior design and floral still-life painting which could be incorporated into interior design. Another reason could have been her feeling artistically inferior in comparison to her husband, or maybe she was just overwhelmed by the burden of motherhood and looking after the house and her husband. She was quite disheartened for she was quoted as once saying:

“…I sometimes think that the whole effort is in vain, we have far too much to overcome … what significance does it really have if I paint, I shall never, never achieve anything really great … I want to believe in our cause, even if at times it may be terribly difficult…”

In 1895 she gave birth to a daughter, Vibeke and the family moved to a cottage in Skagen Vesterby where she spent time designing the interior of their home. Her life with her husband became very challenging due to a decline in his mental health and his frequent incarceration in mental homes. Her husband’s eyesight also began to gradually fail in 1900. In 1902 during a journey to Italy Marie met the Swedish composer and violinist Hugo Alfvén. She and Alfvén became lovers but Krøyer refused to give his wife a divorce. This changed in 1905 when he found out that his wife was pregnant with Alfvén’s child. Once divorced, Marie moved from Denmark and went to live with her husband and their baby daughter Margita in Tällberg, Sweden.

The couple had a new home built there, which became known as Alfvénsgården, and Maria created the interior design and furnishings of the building. The couple lived together unmarried for seven years before finally marrying in 1912 and their life together lasted twenty-four years until in 1936 they divorced. Marie retained her beloved Alfvénsgården and remained there until she died in Stockholm in May 1940, a few weeks before her 73^rd birthday. On her death the house reverted to her daughter Margita and when Margita died the house went to Vibeke, Marie’s daughter from her marriage to Peter Krøyer.

Peter Severin Krøyer died in November 1909, aged 58, at which time his sight had completely failed and he was blind.

Hip, Hip Hurrah; An Artist's Party on Skagen by Peter Krøyer (1886) — Hip, Hip Hurra by Peter Krøyer (1886)

One of Krøyer’s best known works entitled Hip Hip Hurrah: An Artist’s Party on Skagen came about from his love of photography and his newly bought camera which he purchased in 1885. It was during a garden party at the house of Michael and Anna Ancher that he took the photograph which captured the celebrating guests. Delighted with the photograph, Krøyer decided to convert it into a large scale painting and wanted to bring in his models to Ancher’s garden so as to do some preliminary sketches. Michael Ancher would not go along with the plan and would not countenance the intrusion of the artist and his models into his private garden so Krøyer had the table moved to his garden and set about the work. It took him three years to complete the “stage-managed” work which in some ways resembles Renoir’s 1881 Luncheon of the Boating Party (see My Daily Art Display Aug 2nd 2011). The garden party guests are seen celebrating and raising their glasses in a toast. In the painting we have many of the leading members of the Skagen artist colony. With her back to us is Martha Johansen who was along with Maria Triepcke and Anna Ancher one of the triumvirate of great female Skagen painter. Standing on the far side of the table are the Skagen painters Viggo Johansen, the Norwegian Christian Krogh and dressed in brown Krøyer himself. The man in the white suit is Degn Brøndum, Michale Ancher’s brother in law. Next to him is Michael Ancher. On this side of the table we have the Swedish painter Oscar Björck, and the Danish painter Thorvald Niss. The lady leaning back is Helene Christensen, the local schoolteacher and wife of painter Karl Madsen and closest to us, dressed in white is Anna Ancher and her four year old daughter Helga. As in many of the Skagen paintings the feature of this work is not the people but the Skagen sunlight which streams through the trees casting shadows on the white tablecloth and shimmers on the bottles and glasses.

In contrast to Peter Krøyer’s depictions of his beautiful wife Marie, often seen strolling along the Skagen beaches, Marie’s 1889 Self Portrait is much more sombre and severe. Half her face is in shadow in this work and it could reflect her state of mind at the time she painted the work.

Summer Evening on Skagen's Southern Beach by Peter Krøyer (1893) — Summer Evening on Skagen’s Southern Beach by Peter Krøyer (1893)

In contrast to this dark portrait we have Peter Krøyer’s painting entitled Summer Evening on Skagen’s Southern Beach which he completed in 1893. The idea for this work came to Krøyer during one of the many dinner parties he attended after which the diners would take twilight stroll along the shoreline. It is an idyllic setting and we see Peter’s wife Marie. Once again like paintings I featured by Michael Ancher and his wife the colour blue featured a lot in Krøyer’s painting during his stay in Skagen. This twilight period when day starts to lose out to night was often referred to the “blue hour” which was how they say saw the sky and sea merge into one shade of blue.

Brøndum’s dining room with (left to right) Degn Brøndum (brother of Anna Ancher), Hulda Brøndum (sister of Anna Ancher), Anna Ancher, Marie Krøyer, P.S. Krøyer, and Michael Ancher, ca. 1890s; Image courtesy of Skagens Museum

I finish this blog with a photograph of my four Skagen artists, which I have featured in my last two blogs, sitting around a dining table at the Brondum hotel once owned by Anna Ancher’s parents

The Skagen Painters – Part 1: Mr and Mrs Ancher

Often in my blogs I have talked about artists’ colonies, places where artists congregated, visited and sometimes lived. In England, I looked at some artists who lived and painted in Newlyn and St Ives. In France there was the commune of Barbizon, close to the Fontainebleau Forest, just a short train ride from the French capital, which was home to the leaders of the Barbizon School, the painters Théodore Rousseau and Jean-François Millet. There was also the artist colony in Brittany at Pont-Aven, where great artists such as Gaugin and Émile Bernard plied their trade. In fact, in most countries, there were areas favoured by artists, usually because of the beautiful landscape and the special light which could be savoured by the en plein air painters during the long summer days. Today and in my next blog, I am focusing on another artist commune and two husband and wife couples who were considered the leading figures of the artistic group. Let me introduce you to four painters who formed part of the Skagen commune of artists. They were Michael Peter Ancher and his wife Anna and Peder Severin Krøyer and his wife Marie.

Skagen, which is part of Jutland, is at the most northerly tip of Denmark. It is a finger of land, which juts out into the sea and is looked upon as the divider between the great waterways of the Skagerrak and Kattergat straits, the former connecting with the North Sea and the latter which leads in to the Baltic Sea. It was at this place that the artists discovered an exclusive and exceptional quality of light. The Norwegian naturalist painter and illustrator, Christian Krohg, best summed up the allure of Skagen for painters when he described the area:

“…This country is mild, smiling, fantastic, mighty, wild, wonderful and awe-inspiring…it is Skagen – there is no other place on the face of this earth like it…”

This unspoilt area was a magnet to artists who flocked to this picturesque destination in the late 19th century in an attempt to escape city life. For them it was a bolt-hole and an opportunity to artistically catalogue a beautiful untouched area, which they believed one day would vanish.

My blog today focuses on Michael and Anna Ancher a talented couple of Skagen School painters.

Michael Peter Ancher was born in June 1849 at Rutsker, a small Danish village on the island of Bornholm. Once he had completed his classical education he set his sights on becoming an artist and in 1871, aged twenty-two, he enrolled on a four-year art course at the Royal Danish Academy of Art. It was whilst on this course that he developed a liking for genre painting, paintings which depicted everyday life. One of his fellow students at the Academy, who befriended him, was Karl Madsen and it was he who persuaded Ancher to accompany him to Skagen in 1874. Ancher’s journey to Skagen with his friend was to influence both his future life as well as his art. Ancher fell in love with Skagen and he decided to make it his home. Skagen was not just a home to artists but was also one for many writers who loved the tranquility of the area and found it conducive in their quest to write a good book or poetry. Hans Christian Andersen often visited Skagen but another writer who was to play a part in Michale Ancher’s paintings was the poet and dramatist, Holger Henrik Herholdt Drachmann who had come to Skagen to write and learn to paint. Drachmann was in awe of the bravery shown by the local fishermen and sailors and often wrote about them in prose and verse.

Will he round the point ? by Michael Ancher (c.1879) — Will he round the point ?
by Michael Ancher (c.1879)

In 1879, five years after settling down in Skagen Michael Ancher painted one of his most famous works, a painting which featured the hazardous life of the local fishermen. It was entitled Vil han klare pynten (Will he Round the Point?). This work was to be Ancher’s great artistic breakthrough. It was such a popular work that no fewer than two buyers were about to acquire the work before a third one stepped in and took the painting. So who were the proposed buyers? Initially the Copenhagen Art Association were going to buy the painting but agreed to relinquish their grip on the work when the Danish National Gallery stated that they wanted to purchase Ancher’s painting. However they too had to step aside when the king, Christian IX, expressed a “wish” that he should own the work! In the painting we see a dozen men, on Skagen’s southern shore, as the waves lap around their feet. They are all dressed in fisherman’s garb and they are all staring worriedly out to sea worrying about the safe return of one of their comrade’s boats.

The Lifeboat is Taken through the Dunes by Michael Ancher (1883)

As with many small fishing communities the fishermen also acted as lifeboatmen who put their lives on the line for those in peril on the high seas. Ancher depicted such an occasion in his 1883 work entitled Redningsbåden køres gennem klitterne (The Lifeboat is Taken through the Dunes) in which we see the fishermen arduously hauling their horse-drawn lifeboat cart over the snow-covered sand dunes so that it can be launched into the dark and threatening sea. It is mid-winter and the skies are dark and menacing and in the right background we catch glimpse of the stricken ship. Two men at the tail of the line of fisherman shout to persons unknown, who are outside the picture, and this gesture adds to the sense of urgency and tension of the moment.

The Drowned by Michael Ancher (1896) — The Drowned
by Michael Ancher (1896)

The final work by Michael Ancher featuring the heroism of the Skagen fishermen was completed in 1896 and entitled The Drowned Fisherman. The painting is inspired by the death in 1894 of the Skagen fisherman and lifeboatman, Lars Kruse. Kruse was famous throughout Denmark because of a book written by Holger Drachmann which told of Kruse’s heroism as a rescuer. Michael Ancher had already painted a number of portraits of Kruse but this final painting of the Kruse will be the best remembered. Kruse had become the chairman of the Skagen lifeboat and had, through the time as a rescuer, received many awards for the bravery he had shown during his rescue work. An engraving on one of his awards summed up his courage stating:

“…Humble in word, proud of his deed, Christian in deed, Man in his boat…”

Lars Kruse was killed in 1894 whilst trying to land his boat on Skagen’s North Shore in a winter storm. Through Drachmann’s book and Ancher’s painting the name of Lars Kruse lives on in the memory of the Danish people. After over almost twenty years of depictions of Skagen fishermen carrying out their perilous job, this painting of Kruse’s death was the last one by Michael Ancher to feature the local fishermen.

Shortly after Michael Ancher first visited Skagen in 1874, he met fifteen year old Anna Kristine Brondum, a native of Skagen and one of six children of Erik Andersen Brøndum and his wife Ane Hedvig Møller, who ran a local grocery business and the Brondums Guesthouse. He had been invited to Anna’s confirmation and from that first meeting friendship blossomed. Anna, although still young, and Michael had one shared passion – art. In 1875, at the age of sixteen, Anna began a three year drawing and painting course at the Vilhelm Kyhn College of Painting in Copenhagen. This college, known as Tegneskolen for Kvinder (Painting School for Women) was started in 1865 by the Danish landscape painter, Vilhelm Khyn, at a time when women were not allowed to enrol on art courses at the Danish Academy of Art. On returning to her family home in Skagen her friendship with Michael Ancher developed rapidly. They were engaged in 1878 and in 1880 the couple were married. Three years later, in 1883, their daughter Helga was born. Anna was determined to buck the trend which seemed to decree that after the birth of a child the mother should give up all her dreams and solely concentrate her life on the upbringing of her children and the task of looking after her husband and house. Anna refused to give up her art. The following year Michael, Anna and their baby daughter, Helga went to live in a house in Markvej. The family lived there for 30 years. In 1913 they had the house extended to make more space for Michael and Anna’s art.

Sunlight in the Blue Room by Anna Ancher (1891)

In 1891 Anna Ancher completed a beautiful painting which featured her eight year old daughter Helga. It was entitled Sunlight in a Blue Room. In the painting we see Helga sitting in the blue room of the Brøndum’s Hotel which was once run by Anna’s parents. She actually completed a number of portraits of her mother, Ane, in this very room. We see Helga sitting quietly drawing on a pad. She too, like her mother and father before her, would study art in the Danish capital. However, the beauty of this painting is the way in which Anna has captured the light which streams through the window. It is a painting of the interior and only the shadows on the wall give us a hint about the exterior.

One of the most moving paintings I came across by Anna Ancher was one she completed in 1902 simply entitled Grief. It was based on a dream she once had – or maybe it was a nightmare. The old woman kneeling on the right is Anna’s mother, Ane Brøndum and it could be that the woman on the left is a self portrait. Anna had been brought up in a very religious household although once away from the family environment and studying at art college, she questioned her religious beliefs especially as she had become surrounded by radical and often atheistic artists who formed the Skagen artistic commune. In some ways this questioning of her early religious family background may have caused her to feel ill at ease and out of this could have come this dream which compares her with her mother. One is old, one is young, one is fully clothed whist the other is naked. The contrast is plain to see as the two people gather around a cross. Is the younger girl praying for forgiveness for her loss of faith or just simply praying that she should be understood? Is the old lady literally praying for the soul of her grow-up child? Is that how Anna envisaged her relationship with her mother?

In 1913 Anna painted two portraits of her mother who was then 87 years old. They are very intimate depictions of her elderly mother, and completed just three years before she died.

Portrait of Anna Hedwig Brondum by Anna Ancher (1913)

Michael Ancher died in 1927, aged 78 and Anna Ancher died eight years later in 1935, and the house the lay empty. However their daughter Helga Ancher, who died in 1964, stipulated in her will that any money that she left should be used to create a fund to be known as The Helga Ancher Foundation. The money in the Fund was to be used to renovate her parents’ house and it should house all the paintings by her mother and father that she owned. In 1967, three years after Helga’s death her wish was fulfilled and the museum was opened.

In my next blog I will look at the works of two other Skagen painters, Peder Severin Krøyer and his wife Marie, who were also great friends of the Anchers.