Peder Severin Kröyer

Marie Krøyer (1867-1940) and Hugo Alfvén (1872-1940)

Peder Severin Krøyer's painting Marie Krøyer and Hugo Alfvén, study for "Midsummer Bonfire" is a significant precursor to one of his most celebrated works, Sankt Hansblus på Skagen strand (Midsummer Eve Bonfire on Skagen's Beach), completed in 1906 and currently in the collections at the Skagen Museum. Krøyer was preoccupied with the ambitious project of the Sankt Hans bonfire motif for years, This study from 1903 captures the presence of the artist's wife, Marie Krøyer and The Swedish composer Hugo Alfvén, standing close together in the heat of the rising flames on the beach. The scene would later be fictionalized in Krøyer’s final major work, the large painting measuring 150 x 250 cm depicting the traditional bonfire. Krøyer included friends from the Skagen artist colony as well as from the local population in the circle of people gathered around the fire. This final monumental work thus became an iconic representation of the social and cultural life in Skagen.

The study of Marie and Hugo also serves as a personal and poignant piece within Krøyer's body of work, reflecting the complex dynamics between these individuals. Although Marie and Hugo were not physically present at the Midsummer celebration depicted in the final painting, Krøyer included them as a symbolic gesture. This decision was rooted in their entangled relationships; by 1906, Krøyer and Marie’s marriage was ending, yet she and Hugo remained a significant part of Krøyer’s life and the larger Skagen community. Their inclusion in the painting, even if fictional, hints at the emotional turmoil Krøyer experienced during this period.

The story of Marie Krøyer and Hugo Alfvén's relationship, intertwined with the art and life of Krøyer, is one of intense passion, infidelity, and ultimately, separation. Alfvén, a composer, first became enchanted by Marie’s beauty when he saw portraits of her at an exhibition in Copenhagen. He fell in love with her when they met in Taormina, Sicily, in 1902. Their romance flourished, leading Marie to request a divorce from Krøyer. However, Krøyer initially refused, hoping the affair would fade. Despite this, the relationship between Marie and Hugo continued to grow, culminating in Marie's pregnancy and Krøyer's eventual acceptance of their relationship.

Krøyer’s study of Marie and Hugo on the beach from 1903 serves as a reminder of a tumultuous chapter in his personal life. Krøyer chose to include them in the final painting, emphasizing their importance to him and his circle, despite the pain their relationship caused him. This artistic decision highlights Krøyer's struggle to reconcile the end of his marriage with the reality of his changing personal relationships.

In conclusion, the study of Marie Krøyer and Hugo Alfvén for Midsummer Bonfire is more than just a preparatory sketch; it is a window into the complex personal life of Peder Severin Krøyer and the emotional upheaval he faced during the creation of his magnificent final major work. By blending reality with artistic license, Krøyer immortalized the presence of two people who were both integral to his life and to the Skagen community. The painting thus serves as a testament to the intertwined nature of art, life, and personal relationships, capturing a moment of cultural and emotional significance on the shores of Skagen.

Photo: Sankt Hansblus på Skagen strand, Skagen Museet, Skagen, Danmark.
Midsummer's Eve Bonfire on Skagen's Beach, The Skagen Museum, Skagen, Denmark.
Portrait of Hugo Alvén, by P.S. Krøyer dated 1903.