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Hip hip hurray. The painting by Peder Severin Kroyer
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Hip hip hurray

Hip, Hip, Hurrah! (Danish: Hip, hip, hurra! Kunstnerfest på Skagen) is an oil-on-canvas painting from 1888 by Norwegian-Danish painter Peder Severin Krøyer. The dimensions of the painting are 134.5 cm × 165.5 cm (53 in × ?65 1?8 in), approximately six and a half feet wide by a little over five feet tall.
Born in Norway in 1851, Peder Krøyer was brought up by his mother's sister and her husband after his mother was unable care for him because of her poor mental health. He moved to Copenhagen to live with his aunt and uncle and graduated from the Danish Royal Academy of Fine Arts in 1870 at the age of nineteen. His reputation as Denmark's most up-and-coming painter was established by the positive reviews he received on his early paintings exhibited at the Charlottenborg Palace in Copenhagen as part of the Academy. There Heinrich Hirschsprung, tobacco magnate and patron of the arts. purchased one of Krøyer's paintings and offered to sponsor Krøyer further studies in France.
With Hirschsprung's patronage Krøyer traveled throughout Europe, visiting Spain, Italy and Brittany in France, painting all the while. He studied in Paris with Léon Bonnat and immediately adopted his radical use of light. Krøyer shifted from the soft and subtle Morning at Hornbaek, Fisherman Making Landfall done in Denmark in 1875 to the much darker and more sober Sardine Works in Concarneau, painted in 1880. He submitted that painting and French Forest Workers to the French Salon to critical acclaim from both the Danish Academy and the French. The next year Italian Fieldworkers was likewise a success with the French Salon. In 1881 he submitted Italian Village Hatters to the Salon was honored with the third place award. He was first Dane to have ever received an award from the French Salon. Hirschensprung's investment in supporting Krøyer and his travels paid off and Krøyer's title of Danish National Treasure was assured. With the Salon award in his pocket, Krøyer arrived back in Denmark ready to be the painter laureate, a crown he wore well, but not without tragedy.
When he returned to Denmark in 1883, his award-winning painting was not well received by his Danish audience. The painting was bold, and a little too gritty for Danish tastes. Danish audiences were appalled to see laborers sweating in beautiful Italy. Krøyer was viewed not as a reformer, but as a hostile revolutionary. Krøyer at this point pulled back from upsetting his audience and changed directions in terms of subject. He started to create images that are more about how the image is composed rather than a containing a strong message. He focuses on strong diagonals and pictorially balanced compositions.
Krøyer's first paintings of Skagen were of the fishermen of the area, and he ended with meditative paintings that contemplate the vastness of the area in paintings like his most well-known and well-loved painting Summer Evening on Skagen's South Beach. In between, in maybe his happiest times, he celebrated the collective activity of a group of artists who gathered every summer in Skagen with paintings like Artists' Luncheon at Skagen and Hip, Hip, Hurrah!
Hip, Hip, Hurrah! is influenced by his focus on composition and interest in photography. He purchased his first camera in 1885 and from then on seems interested in capturing in his paintings the spontaneous spirit of what is captured on film.
The moment in time captured in Hip, Hip, Hurrah! was inspired by a photograph taken at a party. In the photo we see: (left to right) Martha Møller Johansen, Anna Ancher's cousin—who along with Maria Triepcke and Anna Ancher was one of the important women painters of the group—with her husband, the painter Viggo Johansen , Norwegian painter Christian Krohg , Krøyer himself, in the white suit Degn Brøndum (Anna Ancher's brother), Michael Ancher , Swedish painter Oscar Björck, Danish painter Thorvald Niss ; local school teacher and wife to Karl Madsen, Helene Christensen (rumored to be romantically involved with Krøyer before he married his wife Marie); dressed in white and closest to the viewer is Danish painter Anna Ancher and her little daughter at around age four Helga Ancher.
The painting vividly features not only friends, but also the atmospheric light of Skagen, sunshine sparkling on the rims of the glasses and glinting from the leaves of the trees.
This group wasn't a random birthday party, but a school of painters that rivaled the Impressionists. Three artists, Michael Ancher, Viggo Johansen and Karl Madsen, friends and graduates from the Royal Danish Academy in Copenhagen visited Skagen together in 1875. On previous visits Ancher had patronized Brøndums Gastgiveri, a guest house. Many of the friends, and friends of friends, stayed together in this guest house so far north, on the tip of Denmark, that the northern lights can be seen. After observing the artists and seeing their work, the daughter of the innkeeper became seriously interested in painting. At the time, women couldn't attend the Royal Danish Academy so Anna Brøndum attended art school at Vilhelm Kyhn's school in Copenhagen. She and Michael Ancher later married and moved to Skagen year round. The artist Viggo Johansen married Anna's cousin. Their friend and painter Karl Marden incorporated himself into the local community as well: he married local school teacher, Helene Christensen, the woman leaning back in the striped dress in Hip, Hip, Hurrah!
The Ancher's house became the center of the artist colony, with Archer and Krøyer at the center of the group of Swedish, Norwegian and Danish men and women referred to now as the Skagen Painters.
The Anchers had traveled abroad and in Vienna met Peder Krøyer in 1882. Krøyer joined them in Skagen the following summer. With Impressionist artist friends in Paris and a history of exhibiting in the Salon in Paris, Krøyer arrived in Skagen with an air of worldliness and credibility. He created “The Evening Academy” where the artists would gather to paint, discuss art and drink champagne. After spending three summers in Skagen, he bought a house. Starting in 1889 he spent every summer in Skagen with another artist he had met first in Copenhagen and later again in Paris, his wife Marie Triepcke.
Marie Triepcke studied with Anna Archer at the Pierre Puvis de Chavannes atelier in Paris. The two would be lifelong friends. Marie Triepcke was interested in bettering the support of women painters and was one of the first to exhibit her paintings at Den Frie Udstilling (The Free Exhibition), an alternative to the Denmark Academy, in 1891. Shortly after arriving in Paris she recognized Krøyer and waved to him from where she was sitting at the Cafe de la Regence. He immediately fell in love with her. Within six months of meeting in Paris, they were married at her parents' home in Germany in 1889. Krøyer was inspired by his wife's beauty and she was frequently a model for his paintings. As evidenced in her painting Interior with Girl Sewing, Marie Triepcke was a talented painter in her own right. However after their marriage, she painted less and less. Instead she explored her interest in furniture and interior design. In this manner, she worked on her own houses and apartments as well as giving advice and making drawings and plans for friends' homes. She and Krøyer had a daughter, Vibeke.
During his good times, Krøyer was one of the most enthusiastic about Skagen, embracing the special quality of the light along the sea coast as integral motifs in his paintings. He painted several scenes of the beach, the group of friends and he and Marie at the edge of the sea, documenting what they thought were the last days of Skagen, before it became a popular vacation spot. He loved the “blue hour,” the time of evening when the sun is low and seems to hang forever in the nordic sky. This atmospheric blue is key in the paintings Summer Evening in Skagen and Anna Ancher and Marie Krøyer on the Beach at Skagen.
Krøyer had befriended James Whistler in Paris, and they had shown together in several exhibitions. Krøyer would have been familiar with Whistler's flat use of color, and crepuscular light used in in his series of ‘nocturnes' that include Nocturne: Blue and Silver - the Lagoon, Venice and Nocturne: Blue and Silver - Chelsea . The atmospheric work of his friend and Skagen art colony regular Eilif Peterssen was also an influence.
Images of the group drinking champagne around a table outdoors was a theme explored by many of the colony's members including Ancher's Actors Lunch, Skagen . Like Actor's Lunch, Hip, Hip, Hurrah! is a nod to the French Impressionists, a celebration glittering light and the careful balance of figures on the canvas. With its celebration of spontaneity and “in group” sensibility,  Renoir's Luncheon of the Boating Party immediately comes to mind. The camaraderie, the soft light that embraces the figures, champagne all around— this painting is the story Krøyer is telling himself about his life.
Painter Fritz Stoltenberg took the photo of the party in the garden at Ancher's new home; Krøyer found the photo to be delightful and decided to convert it to a large painting. He returned to the table in the garden with his easel, ready to paint. Ancher chased his friend away, reminding him that he and his wife had purchased the property so they could have some privacy and he wasn't going to tolerate Krøyer traipsing in and out of the garden with painting gear and people sitting to model. Without access to the garden at the exact right time of day to study, Krøyer struggled to finish Hip, Hip, Hurrah! The spontaneous feeling captured in this meticulous composition belies the work involved, this painting was an ongoing project for three to four years.
The composition is similar to the original photo of Stoltenberg's, but the individuals are not the same.
Pontus Furstenberg, a Swedish art collector, bought the painting sight unseen and later donated it to the Gothenberg Museum of Art in Sweden, where it has been in the collection ever since.
When their daughter was small, Krøyer's mental health started to seriously decline, and his marriage to Marie Triepcke more and more difficult. In 1900 Marie admitted him to a mental hospital for the first of many lengthy stays. Marie was on her own more and more, and often traveled. In 1902, while traveling in Sicily, she encouraged her friend, the singer Anna Norrie, to meet her in Taormina. At the time Anna Norrie was staying with Swedish composer and violinist Hugo Alfvén in Berlin. Marie invited them both to come to Taormina. During the visit, Hugo Alfvén fell desperately in love with Marie. Marie, feeling that her life and the life of their small daughter would be happier and more stable with Hugo Alfvén, immediately travelled to see Krøyer to ask for a divorce. He refused, thinking her affair with a man five years younger than she was nothing more than a passing infatuation. Marie spent time with Alfvén in Skagen, Copenhagen and Sweden—their affair went on for years.  It wasn't until Krøyer was faced with the reality that Marie was pregnant with Alfvén's child that he granted her a divorce. Marie and Alfvén moved to Sweden where they lived until they divorced in 1936. The house she and Alfvén built in Stockholm—a house entirely her own design—was left to her daughter with Alfvén, Margita; when Margita died the house went to Vibeke, Marie's daughter with Krøyer. Krøyer painted Marie Triepcke with Hugo Alfvén together in St John's Eve Bonfire on Skagen's Beach , the two stand side by side as the blazing flames light up their faces.
In 1890, the railway extended into Skagen, making the village more accessible for tourists. The group felt as if an era had ended. In the last ten years of his life Krøyer's vision failed him. He said as one eye got worse, the other got better and he continued to paint even after he went completely blind. He is buried in Skagen, far away from his wife and child, who are buried in Sweden, but close to the Ancher's garden, the setting for Hip, Hip, Hurrah!

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Hip hip hurray

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Hip hip hurray

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