DOI issue:
No. 133 (March, 1908)
DOI article:Bröchner, Georg: A Danish painter: Peter Severin Kröyer
DOI Page / Citation link: https://doi.org/10.11588/diglit.28254#0058
P. S. Kroyer, Danish Painter
groups, flowers in a vase, toilers at work, all marked
by his inimitable freedom and ease of touch, which,
for instance, can make a creeper in bloom simply
flow over a gateway or the rays of the sun dance
over the waves.
Kroyer is also a gifted sculptor (see p. 31), which
almost goes without saying, considering the way he
moulds and models the human face in his pictures
without resorting to perceptibly harder or darker
shades, light against light, pink flesh against pink
flesh. He is also an etcher of distinct merit.
In Kroyer’s art, as in that of most painters, some
efforts stand out as milestones marking different
stages or work of exceptional virtue, and a brief
mention of a few of them might appropriately bring
these notes to a close. Kroyer, as already men-
tioned, made his debut with portraits and studies of
heads ; he has, amongst others, painted a number of
self-portraits from different periods of his life. A
picture of the Hornbdk Smithy (1873) demonstrated
his early liking for “light” effects, the red glow
from the furnace on the men and the surroundings
being rendered with extreme cleverness. Before
leaving for abroad he painted one of his few imagi-
native pictures, Daphnis and Chlo'e, charming enough
in design and well modelled, but on account of
its darker tones difficult to reconcile with Kroyer’s
later work. In 1879 he sold a scene of Spanish
life to the Danish National Gallery (which has since
secured a number of his pictures, although some
of his best work has gone elsewhere), and within
another twelve months he painted a highly interest-
ing picture, Italian Village Hatters, the swarthy
figures and the effect of the light in the dark, dingy
workshop being done with consummate skill. This
work attracted a great deal of attention, getting its
author medals both in Paris and at home. Widely
different from the latter is a large canvas, Fishermen
on the Shaw Shore: late Summer Evening (1884),
bought by the Danish National Gallery and altogether
an admirable painting, possessing many of the virtues
which have tended to make Kroyer famous. The
Stockholm National Gallery has a picture with the
same motif in pastel, which medium so well befits
its delicate hues. The following year another large
canvas was completed, the foundry of a big Copen-
hagen shipyard, the fire and molten iron and steam
and mist of which would have baffled most of his
groups, flowers in a vase, toilers at work, all marked
by his inimitable freedom and ease of touch, which,
for instance, can make a creeper in bloom simply
flow over a gateway or the rays of the sun dance
over the waves.
Kroyer is also a gifted sculptor (see p. 31), which
almost goes without saying, considering the way he
moulds and models the human face in his pictures
without resorting to perceptibly harder or darker
shades, light against light, pink flesh against pink
flesh. He is also an etcher of distinct merit.
In Kroyer’s art, as in that of most painters, some
efforts stand out as milestones marking different
stages or work of exceptional virtue, and a brief
mention of a few of them might appropriately bring
these notes to a close. Kroyer, as already men-
tioned, made his debut with portraits and studies of
heads ; he has, amongst others, painted a number of
self-portraits from different periods of his life. A
picture of the Hornbdk Smithy (1873) demonstrated
his early liking for “light” effects, the red glow
from the furnace on the men and the surroundings
being rendered with extreme cleverness. Before
leaving for abroad he painted one of his few imagi-
native pictures, Daphnis and Chlo'e, charming enough
in design and well modelled, but on account of
its darker tones difficult to reconcile with Kroyer’s
later work. In 1879 he sold a scene of Spanish
life to the Danish National Gallery (which has since
secured a number of his pictures, although some
of his best work has gone elsewhere), and within
another twelve months he painted a highly interest-
ing picture, Italian Village Hatters, the swarthy
figures and the effect of the light in the dark, dingy
workshop being done with consummate skill. This
work attracted a great deal of attention, getting its
author medals both in Paris and at home. Widely
different from the latter is a large canvas, Fishermen
on the Shaw Shore: late Summer Evening (1884),
bought by the Danish National Gallery and altogether
an admirable painting, possessing many of the virtues
which have tended to make Kroyer famous. The
Stockholm National Gallery has a picture with the
same motif in pastel, which medium so well befits
its delicate hues. The following year another large
canvas was completed, the foundry of a big Copen-
hagen shipyard, the fire and molten iron and steam
and mist of which would have baffled most of his