Pietro Købke Krohn was a gifted multi-faceted creative who is celebrated both for his art and his broader work within the artistic community. He was the son of sculptor Frederik Christopher Krohn (1806-1883) and Sophie Susanne Købke (1807-1853), the sister of distinguished Golden Age painter, Christen Købke (1810-1848).

Following his education at the Royal Danish Academy of Fine Arts, his primary artistic pursuits were painting and illustration. His brother, Johan Jacob Krohn (1841-1925), was a successful writer and the pair collaborated on several publications.

His success as a painter gathered momentum during the 1870s, which coincided with his becoming a member of the Danish artists' colony in Rome. His better-known pieces are genre scenes featuring figures in domestic settings and it’s plausible that he painted his parents on occasion, probably within the family home. Beyond the 1870s, evidence of his production as a painter is limited.

From 1880, Krohn diversified and undertook the first in a series of professional roles by becoming a costume designer at the Royal Danish Theatre where he also directed operas. In 1885, he was appointed as the artistic director of Bing & Grøndahl, a porcelain manufacturer, and from 1893, as the Head of the Danish Museum of Art & Design.

Throughout his career, he was embedded in the artistic scene and would regularly offer his services free of charge with the aim of education. A letter in the national archives refers to a lecture he gave on the history of Italian Art, which was particularly well received. His son became an art historian.

Timeline

1840

Born in Copenhagen, Denmark, to Frederik Christopher Krohn, a sculptor, and Sophie Susanne Købke (1807-1853), the sister of distinguished Golden Age painter, Christen Købke (1810-1848).

1860-1867

Trained at the Royal Danish Academy of Fine Arts under Wilhelm Marstrand, Jørgen Roed and P.C. Skovgaard.

1866

Produced illustrations for ‘Peters Jul’, a book written by his brother Johan Jacob Krohn.

1871

Travelled to Germany and Holland.
Produced illustrations for ‘Billedbog for Børn’, a book written by his brother Johan Jacob Krohn.

1872

Produced illustrations for ‘Børnehistorier’, a book written by his brother Johan Jacob Krohn.

C. 1875

Became a member of the Danish artists' colony in Rome.

1878

Travelled to Paris.

1880-1893

Worked as a costume designer at the Royal Danish Theatre. He also directed operas.

1881

Married ​​Emilie Juliane Bull. Their son, Mario Krohn (1881-1922), became an art historian.

1885-1892

Worked as the artistic director of Bing & Grøndahl, a porcelain manufacturer.

1893-1905

Worked as the Head of the Danish Museum of Art & Design.

1905

Died in Copenhagen.

Obituaries

Den Danske Pioneer.

“Death of Pietro Krohn.

The Danish Art industry's great connoisseur and organiser, Pietro Krohn, has died. He had been weak for some time and recently made a trip to the south in the hope of regaining his health and strengthening himself for new work in the service of culture. But the other day, the Industriforeningen's Flag was raised at half-mast Pietro Krohn was buffeted by his illness.

Krohn was born on 23 January 1840 in Copenhagen - the father was a Norwegian painter - and spent his youth studying the art of painting. He himself exhibited a number of genre paintings, but only came into contact with the public when, in 1880, he was linked to the aforementioned. Theatre, first as Finance and Costume Inspector, then as Opera Instructor. In 1893, he became director of the Art Industry Museum, and from this year until his last, he performed clear and fruitful work in the service of the Danish art industry.

In the museum's basement floor, he has for a number of years arranged exhibitions that ranged from the famous German Max Klinger's drawings to Swedish embroideries. One of his last exhibitions consisted of illustrations for H. C. Andersen's fairy tales, taken from everywhere and interspersed with a subtlety and knowledge that communicated itself to the understanding spectator. Of course, his significance for the Art Industry Museum itself has been no less great, but from here his work will be known to most people.

In addition to being a diligent contributor to the ‘Boisen Christmas Roses’, he has written weighty treatises on art (History of Lithography) and throughout his work displayed such a taste and sense of art that it will be difficult to replace him.”