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Summer evening on Skagen beach. The artist and his wife

Painting, 1899, 135×187 cm

Description of the artwork «Summer evening on Skagen beach. The artist and his wife»

The artist and his wife, Marie, walk with the dog along the coast at that very hour before sunset, which Kreuer called the “blue hour”: the time when the sun had just set, and the moon had already risen, and the world seemed to stop in that interval between day and evening, exuding a cold and shining light. At least on the Jutland Peninsula in Skagen, the world behaves in this way about this time.

It is light in the first place that attracts attention in this picture. The reflection of the sailboat in the water, the sparkling moonlight, with which the shadow of Marie seems to connect, the depth and transparency of the water off the coast - it is difficult to resist the epithets describing the pictures of the “blue period” of Kreyer. But, despite his proximity to the Impressionists, despite the fact that many researchers believe that he would stay in Paris, his name would be on par with Renoir, Degasand Monet, we cannot say that the image of the light-air mass, the play of light, the shades of color is the main plot of the work. The plot here is in addition to the dazzling blue.

Marie was younger than Soren, as the artist's relatives called her, for 16 years. In the picture it is certainly noticeable. Well, the age of love is not a hindrance. Even shades of clothing could combine them: a snow-white, with a gold edging and a belt, a Marie dress, a white shirt and a Kreuer beige suit ... But they do not unite, but rather emphasize the differences. If a woman seems all created from smooth lines, circles and bends, then the man in the picture seems to consist of solid corners. Marie’s arms are lowered, as if she does not notice her husband holding her hand. And her gaze and her whole body are directed away, turned away from him. In her posture - the desire to move away, move away, but at least take a step on this moonlit path. Dog Rup, buried in the foot of Krøyer, much closer to him, and it's not just centimeters of canvas. Two ships are visible in the distance: a snow-white sailboat, its wide sail oscillating from the wind echoes the dress and the airiness of the image of Marie, and an angular, one line consisting of a second ship, completely different, completely different to that beautiful sailboat beautiful wife.

Maybe when Krøyer wrote his wife, did she always get this way — detached, sad? By no means! This is what Marie looks at us from early images, when they first met, just got married, in love and happy: 1, 2. That Marie has not yet abandoned her painting classes, has not yet believed that she is close to Severin - is mediocre, that Mari has not yet had the opportunity to face the exhausting, repetitive manifestations of her husband's manic-depressive syndrome. The image of Marie is not filled with fatigue, which comes from this beautiful woman, placed in the incredible blue color of Kröyer, standing next to him and secretly dreamed of being away. Soon she will succeed. What happened between the artist and his wife - read in Peder's Biographies of Severin Kröyerin Arthive. Or look in the film The Artist's Wife (Marie Krøyer, 2012): frame with this picturein it, of course, there is.

Krøyer presented the painting at the 1900 exhibition in Charlottenborg. They took her pretty cool, qualifying as too banal. How to say…

Author: Alain Esaulova
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About the artwork

Art form: Painting

Subject and objects: Genre scene

Style of art: Realism

Technique: Oil

Materials: Canvas

Date of creation: 1899

Size: 135×187 cm

Artwork in selections: 21 selections

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