Krøyer and Paris

Dominique Lobstein, Mette H. Lehmann

Description

‘A lover of light’: in 1912, a French critic used these words to describe the great Danish painter Peder Severin Krøyer, who had close ties to the French art scene for more than two decades. Krøyer first visited Paris in 1877, and his many letters clearly show the impact French art had on Krøyer’s own development as a painter, on the artists’ colony in Skagen, and on Danish art history in general.
In Krøyer and Paris. French Connections and Nordic Colours, art historians Mette Harbo Lehmann and Dominique Lobstein describe Krøyer’s artistic development from the Golden Age tradition favoured by the Danish academy to Naturalism and the Modern Breakthrough. They show how inspiration from France can be traced in his painting technique and his open-air paintings from Skagen, revealing how French Naturalism made its mark on Krøyer’s distinctive style.
Krøyer and Paris has also been published in Danish.

Sujets

• Arts visuels
• Histoire des Arts
• Histoire des Arts
• Histoire des arts visuels
• History
• Art

Informations

• Publié par: Aarhus University Press
• Date de parution: 12 mai 2022
• Nombre de lectures: 1
• EAN13: 9788772198972
• Langue: English
• Poids de l'ouvrage: 15 Mo

Extrait

and
KRØYER PARIS
‘A lover of light’: in 1912, a French critic used these words to describe
the great Danish painter Peder Severin Krøyer, who had close ties
to the French art scene for more than two decades. Krøyer  rst visited
Paris in 1877, and his many letters clearly show the impact French art
had on Krøyer’s own development as a painter, on the artists’ colony
in Skagen, and on Danish art history in general.
In Krøyer and Paris. French Connections and Nordic Colours, art historians
Mette Harbo Lehmann and Dominique Lobstein describe Krøyer’s artistic
development from the Golden Age tradition favoured by the Danish
academy to Naturalism and the Modern Breakthrough. They show how
inspiration from France can be traced in his painting technique and his
open-air paintings from Skagen, revealing how French Naturalism made
its mark on Krøyer’s distinctive style.
KRØYER
andPARIS
French Connections
ISBN 978-87-7219-896-5ISBN Ž “”Ž Ž• – and Nordic Colours
9 788772 198965
115317_cover_UK_kroyer_r1.indd 1 08/04/2022 11.59115317_kroyer-paris_001-129_r1.indd 1 08/04/2022 10.34115317_kroyer-paris_001-129_r1.indd 2 08/04/2022 10.34115317_kroyer-paris_001-129_r1.indd 3 08/04/2022 10.34115317_kroyer-paris_001-129_.indd 4 06/04/2022 10.38115317_kroyer-paris_001-129_.indd 5 06/04/2022 10.38115317_kroyer-paris_001-129_.indd 6 06/04/2022 10.38115317_kroyer-paris_001-129_.indd 7 06/04/2022 10.38115317_kroyer-paris_001-129_r1.indd 8 08/04/2022 10.34115317_kroyer-paris_001-129_r1.indd 9 08/04/2022 10.34115317_kroyer-paris_001-129_.indd 10 06/04/2022 10.38115317_kroyer-paris_001-129_.indd 11 06/04/2022 10.38115317_kroyer-paris_001-129_r1.indd 12 08/04/2022 10.05KRØYER
and PARIS
French Connections
and Nordic Colours
115317_kroyer-paris_001-129_.indd 13 06/04/2022 10.38eder severin krøyer had a wide outlook. While his roots
were in Denmark, a little country far to the north of Europe, he
travelled extensively throughout his life to gather inspiration, P to search for new impressions and not least to meet new people.
France in particular would exert a crucial infuence on him.
When, in June 2021, the Musée Marmottan Monet in Paris opened
the largest exhibition of Krøyer’s paintings ever staged in France, it did
so to present this truly international Danish artist to French audiences.
Now, in 2022, Skagens Kunstmuseer is opening Krøyer and Paris. French
Connections and Nordic Colours to showcase the French artists and works
of art which had the greatest impact on Krøyer’s life and work.
France imprinted itself on Krøyer as the most artistically signifcant
destination of all, though he visited several other European countries
throughout his life. In Paris, he witnessed and explored the most prominent
and internationally oriented art scene of his time. At the Salon, the annual
ofcial exhibition of the Académie des Beaux-Arts, he saw works of art
hung from foor to ceiling: up to 4,000 works could be gathered in one place
there. At frst, he was thrilled, then overwhelmed. But later, as one will fnd
in this book, his own works would number among the many exhibits,
attracting rich and prestigious accolades on several occasions. Krøyer can
compete with the best – then as now.
115317_kroyer-paris_001-129_.indd 14 06/04/2022 10.38In Krøyer we fnd an artist who reached out to like-minded people – to
artists with whom he could paint and from whom he could fnd inspiration.
He ventured out into the French provinces where he forged ties with French
artists’ colonies, and it was here that picked up the method of plein air
painting which would prove so signifcant to his work. He avidly absorbed
what French artists had to ofer, bringing it back to Denmark with him. His
shadows grew richer in contrast and his paints thicker, but the distinctive
Nordic blue hour remained ethereally dreamlike, the fshermen remained
strong and weather-beaten, and the long coastline remained poetic.
He retained a Nordic quality in the strokes of his brush.
It is uplifting to see how the deep cultural relations between France
and Denmark fnd expression in the collaboration between the Musée
Marmottan Monet and Skagens Kunstmuseer. This time, their
collaboration is manifested in yet another unique exhibition and yet another signif -
icant research project – both created across national borders.
The exhibition Krøyer and Paris. French Connections and Nordic Colours
bring an illustrious assemblage of important French works of art to Skagen.
They clearly show how Krøyer was able to make his many French
impressions his own, translating them into a single brushstroke, a single colour.
For that is how it was and is with Krøyer and his art. He comes home again.
And he brings the world with him.
Her Majesty Margrethe II
Queen of Denmark
115317_kroyer-paris_001-129_.indd 15 06/04/2022 10.38Skagens Kunstmuseer and Musée Marmottan Monet
would like to thank the following for their generous support:
The Danish Agency for Culture and Palaces
The Danish Embassy in Paris
The Danish Ministry of Culture
The Ministry of Foreign Afairs of Denmark
The Augustinus Foundation
The Beckett Foundation
The Knud Højgaard Foundation
The Lemvigh-Müller Foundation
The New Carlsberg Foundation
The Spar Nord Foundation
The Aage og Johanne Louis-Hansen Foundation
Thanks also to the two teams at
Skagens Kunstmuseer and Musée Marmottan Monet
for their exceptional and very diligent work
during the three years of research.
SCIENTIFICMUSÉE MARMOTTAN MONET
PARTNERSHIP SKAGENS KUNSTMUSEER
Under the patronage of Her Majesty the Queen Margrethe II of Denmark
115317_kroyer-paris_001-129_r1.indd 16 08/04/2022 10.03Contents
French Connections 18 catalogue
Nordic Colours21 Krøyer Before Paris 132
Mette Harbo Lehmann The Salon in Paris146
Krøyer and Paris. French Connections
Musée du Luxembourg 178and Nordic Colour23s
A Matter of Techniqu1e90
Dominique Lobstein
Artists’ Colonies and
1 The Paris Art Scene 1870–1910 27 Landscape Painting 198
Mette Harbo Lehmann
Krøyer’s Idol228
2 Krøyer in France35
A Name in Paris 242
Mette Harbo Lehmann
3 Krøyer and the Scandinavian French Masterpieces to Denmar 26k 2
Artists in Paris59
The Greatest Succes 274
Dominique Lobstein
Impressionism 2934 Jules Bastien-Lepage and Naturalism73
Dominique Lobstein
5 Impressionism and Naturalism 83
Bibliography316
Dominique Lobstein
About the Author 3 s206 The 1888 French Art Exhibition
in Copenhagen95 Index of Persons 321
Mette Harbo Lehmann
Photographic Credits 323
7 Krøyer’s School109
Krøyer’s Travels in France127
Krøyer in Paris 128
115317_kroyer-paris_001-129_.indd 17 06/04/2022 11.0806/04/2022 10.57French Connections
In 2019, the Musée Marmottan Monet in Paris and the Northern School who, during his lifetime, had close
Skagens Kunstmuseer formed a scientifc and strategic connections with the French art scene. The relationships
partnership under the patronage of HM Queen Margrethe he developed with French and other foreign artists have
II of Denmark. This close collaboration is built around the been researched by the two curators of the exhibition,
features we have in common. First and foremost is the Dominique Lobstein and Mette Harbo Lehmann, and
history of our two institutions, which were once inhabited their results will be revealed in the second phase of our
dwellings. They are therefore on a domestic scale and partnership.
bear the marks of their former owners. Secondly, they Opening in the spring of 2022 at Skagens Kunstmuseer,
both host important art collections; one contains the Krøyer and Paris. French Connections and Nordic Colours
largest accumulation of Monet paintings in the world, will display Krøyer’s works alongside those he became
while the other possesses a remarkable set of works by familiar with during his various stays in France between
Peder Severin Krøyer. As museums for collectors and 1877 and 1903. A visitor to the ofcial Salon, he very soon
artists, their mission is to develop and enhance their became one of its regular exhibitors, highly praised by
collections through research and dissemination beyond critics and the recipient of the jury’s awards on several
the borders of their home countries. occasions. He formed lasting friendships with artists at the
Thus it was that in June 2021, the exhibition The Cernay-la-Ville colony and enjoyed a close working
relaBlue Hour of Peder Severin Krøyer opened at the Musée tionship with the representatives of French art with whom
Marmottan Monet. This exhibition, the frst in France he organised a large exhibition in Copenhagen in 1888.
devoted to Krøyer’s work, met with huge success. It ena- Sympathetic to the Naturalist teaching of Jules
Bastienbled Parisians to rediscover the art of this major fgure of Lepage, Krøyer was also a witness to Impressionist
paintThis material is copyrighted and may not be disclosed
115317_kroyer-paris_001-129_.indd 18 06/04/2022 11.0906/04/2022 10.57ing, presenting his own canvases on the same walls as The book and the exhibition Krøyer and Paris. French
Monet, Renoir, and Sisley at the Galerie Georges Petit Connections and Nordic Colours has benefted from the
in Paris. However, this did not mean he subscribed to support of many museums in France and abroad, to whom
the Impressionist movement, and the exhibition will seek we extend our warmest thanks. We also wish to thank
to enlarge upon this point by focusing on 10 canvases on the director of Skagens Kunstmuseer, Lisette Vind
an exceptional loan from the Musée Marmottan Monet, Ebbesen, and her team together with the two curators of
among them the masterpiece Impression, Sunrise. This the exhibitions, Mette Harbo Lehmann and Dominique
picture alone demonstrates the diferences and similari- Lobstein. We are also grateful to the Danish Ministry of
ties between the Impressionists and Krøyer. Whereas, Culture and the Ministry