Roses. Marie Krøyer seated in the deckchair in the garden by Mrs Bendsen’s house (1893) by Peder Severin Krøyer
Title
Roses. Marie Krøyer seated in the deckchair in the garden by Mrs Bendsen’s house
Artist
Peder Severin Krøyer (1851–1909), Danish
Date
1893
Medium
Oil on canvas
Collection
Skagens Museum
7088 x 6234 pixels, JPEG, 29.11 MB
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About the Artist
Peder Severin Krøyer (1851–1909), Danish, A master of light and atmosphere, this Danish-Norwegian painter became one of the leading figures of the Skagen artistic colony, capturing the ethereal glow of Scandinavian summers and the intimate camaraderie of his fellow artists. His work blends realism with an almost impressionistic sensitivity to color and mood, particularly in scenes of beachside gatherings or solitary figures bathed in twilight. Though trained academically in Copenhagen and Paris, he developed a distinctive style that rejected rigid formalism in favor of luminous, spontaneous moments—whether portraying fishermen hauling nets or his wife Marie knitting in the soft haze of evening. Krøyer’s fascination with transitional light—the "blue hour" of dusk or the golden wash of sunset—became a signature theme, infusing even ordinary scenes with a quiet magic. His compositions often balance meticulous detail with loose, expressive brushwork, a tension that gives his paintings vitality. Despite struggles with mental illness later in life, his output remained prolific, leaving behind not just iconic images of Skagen’s artistic community but also psychologically nuanced portraits that reveal a deep empathy for his subjects. Today, his works are celebrated for their poetic realism, bridging the gap between tradition and the emerging modernist sensibilities of his time.
Artwork Story
Peder Severin Krøyer’s ‘Roses. Marie Krøyer seated in the deckchair in the garden by Mrs Bendsen’s house’ captures an intimate moment of quiet reflection. The painting bathes Marie in dappled sunlight, her relaxed posture and flowing dress blending seamlessly with the lush garden surroundings. Clusters of roses burst with soft pinks and whites, their petals almost trembling with life against the greenery. There’s a dreamlike quality to the scene—the way light filters through leaves, casting delicate shadows on her face and the fabric of her chair. It feels less like a posed portrait and more like a stolen glimpse into a serene afternoon, where time slows and nature hums gently in the background.
Krøyer’s brushwork is loose yet precise, giving the impression of spontaneity while carefully balancing color and composition. The interplay of light and shade isn’t just technical brilliance; it evokes a mood, a fleeting warmth that lingers. Marie’s expression, subtle and unreadable, invites curiosity—is she lost in thought, or simply savoring the stillness? The painting doesn’t shout; it whispers, drawing you into its tranquil world. Behind the beauty lies a quiet narrative of domestic harmony, a celebration of ordinary moments made extraordinary by the artist’s eye.