H. Chr. Christensen, A Catalogue Raisonné of the Works of P. S. Krøyer no. 447.

Exhibited: The Hirschsprung Collection and Skagens Museum, “Krøyer i Internationalt Lys”, 2012, no. 98, mentioned and reproduced in the catalogue p. 272–273. Lillehammer Kunstmuseum, “Marie Krøyer Alfvèn, malerier, tegninger, design”, 2005, not in the catalogue.

Literature: Peter Michael Hornung, “Peder Severin Krøyer”, 2002, reproduced and mentioned p. 235 (in Danish): "Krøyer’s intense daily life with Marie in Italy invigorated his painting in several respects. His style became not only more personal – it also became bolder, and the picture of Marie sitting in the dark painting is a harbinger of a more liberated use of the effects of light and shadow. For once it is not the darker parts of the painting that frame the lighter parts, but vice versa. That Marie at her easel is the main subject of the little sketch is beyond doubt. She is after all placed in the centre. But since the centre is the darkest and least visible part of the painting, the whole composition becomes a sophisticated play on conventions.”

Provenance: The estate auction of the late P. S. Krøyer 1910 no. 122. Here acquired by stockbroker Axel Levin (1923).

Marie and P.S. Krøyer were married on 23 July 1889 in Augsburg at her parents’ home. From there the couple went on their honeymoon to Stenbjerg in Jutland, where they painted together outside under the open sky. After a short stay in Copenhagen they continued on their honeymoon to Florence, Rome, Capri and Naples, where Marie became seriously ill for a long period, and P.S. Krøyer did not get much painting done. In May they made it to Ravello and here Krøyer experienced a new found joy in his work and made several small studies on wood panels.

Several studies by Krøyer are from this honeymoon trip, where he painted Marie while she was deeply engrossed in painting. Other paintings from the trip include “Marie Krøyer painting at Stenbjerg Strand” and “Interior. Marie Krøyer painting. Ravello.” (Both Skagens Museum). There is no doubt that Krøyer was very infatuated with his wife in the moments where she sat immersed in her own painting.

Lot no.18 painted on the same trip to Italy.