Skagen, Denmark: Shifting Sands, Seaside Splendor & All that Art

The red and blue tractor-pulled trolley was bumping along the Grenen sandbar at Skagen Odde, a peninsula that marks the northernmost point in Denmark. We had swapped our coach bus for the trolley at the Grenen Visitor Center, where the road begins its transition to gravel and sand. The trolley, officially known as the Sandormen – the sand worm – was the latest addition to my growing list of most unusual modes of transportation, including a railcruiser in New Zealand and a tuk-tuk in Lisbon.

As we neared the end of the peninsula, our driver parked the Sandormen, and we headed to the water’s edge on foot. This is the place where the North and Baltic Seas converge, their waters swirling together as a relentless wind rushes through. Our group took turns trying to stand as accurately as possible on the spot where the two seas meet, and although I have no idea whether we succeeded, I will say that I’m certain we were “pretty close.”

The Sand-Covered Church

Our visit to the Grenen sandbar was part of a Seabourn Ovation excursion from Skagen (pronounced Skane) that was taking us to three sand-themed destinations. Back at the Grenen Visitor Center, we left the Sandormen behind and headed to our second sandy spot, the Sand-Covered Church, about fifteen minutes away.

Built in the 14th century, the brick church was once the largest in the region, but became partially buried in the 1600s when sand from the nearby dune began drifting into the surrounding fields. Rising levels of sand buried the church’s foundations faster than they could be dug out, and the building fell into disrepair. Valuable furnishings and tapestries were removed from the interior, and the church was closed in 1795. Today only the tower remains visible above the sand.

The Sand-Covered Church is a rather eerie sight, like a ghost town of one rising up from an area of trees, high grasses and hiking trails. The brick has been whitewashed over the years, and wooden posts surrounding the structure outline the area where the entire church stood.

Råbjerg Mile

The sand dune responsible for burying the Sand-Covered Church is called Råbjerg Mile, a migrating coastal dune that moves in a northeasterly direction of about 18 meters, or 59 feet, a year. Formed more than 300 years ago, it’s the largest migrating dune in Northern Europe. Råbjerg Mile was the final stop on our sand trio tour and a quite a contrasting landscape. It felt as if we’d landed in the desert.

Herb and I walked onto a sand-covered path surrounded by brush and low-lying grasses and suddenly found ourselves looking at endless hills of sand. Thinking there must be a view of something beyond the sand, we decided to head out toward one of the hills to see what was on the other side. But with the exception of a few tufts of grasses decorating the barren landscape, the only sight we found was more sand.

Skagen Lighthouses

Our sand destinations were a short drive from one another, with the route in a sort of loop to and from Skagen. Along the way we passed three lighthouses – two abandoned and one working. The oldest is known as Vippefyr, which roughly translates as “tipping light,” and looks nothing like a lighthouse. Built in 1627, it was used as a navigational light mechanism for over one hundred years. What stands today is a copy of the original. In 1747, the White Lighthouse was built to replace Vippefyr. It was the first brick lighthouse in Denmark and was used as a signaling station until 1858, when the Grey Lighthouse was constructed a little over a mile away on Skagen Odde.

Skagen Architecture

After the tour, Herb and I spent the rest of the day in Skagen, taking in the charming architecture and the art museum. It’s one of those places where I’d loved to have had more time just to wander. I took a few photos of buildings that caught my eye as we were driving into town as well as some while walking in the city center. There is a required uniformity in town – buildings must be painted a distinctive color called “Skagen Yellow” with red tile roofs and white trim – yet each has a distinctive look that is wonderfully inviting.

Skagens Museum

At the end of the 19th century, Skagen became popular with a group of impressionist painters who formed an art colony known as Skagen Painters. The group lived and worked in the area in the late 1800s and early 1900s, drawn to the beaches and other plein air settings and inspired by the light of Skagen. In 1908, several artists and local business owners founded the Skagens Museum, which opened to the public in 1928. In 2014, the museum merged with two historic house museums – Anchers Hus and Drachmanns Hus – and today maintains a collection of more than 11,000 works.

Skagens Museum is housed in a contemporary-looking building connected to an older brick structure. Statues of two of the museum’s artists/founders, Michael Ancher and P.S. Krøyer, stand at the front entrance. Herb and I bought tickets at the information desk and were directed downstairs to stow our bags in a locker.

After trying in vain to figure out how to actually lock the locker and remove the key, a Danish woman at a nearby locker noticed us and stopped by to help. “There’s a coin in the slot which you need to remove and insert after closing the door. Then you’ll be able to remove the key,” she told us. Her friendliness and offer to help transported me back in time to Copenhagen nine years ago, where we were overwhelmed by the happy demeanor and kindness of strangers. Here was that wonderful Danish generosity once again – out of the blue – at the Skagens Museum.

Marie Krøyer

Back upstairs, we headed to the first gallery. I’ve long been a fan of the French Impressionists and was eager to learn about their Danish counterparts. Two of the most prominent were Marie Krøyer and her husband Peder Severin Krøyer, known as P.S. Krøyer. In addition to their paintings, the museum features models of their home, where Marie also began working in furniture, textile and interior design.

P.S. Krøyer

Along with other Skagen Painters, P.S. Krøyer was known for his beach landscapes. He was inspired by the light of the evening’s “blue hour,” when the water and sky seem to blend together.

Social Life

A common theme in the Skagen Painters’ work was their daily life. Paintings of parties, social gatherings and group activities are found throughout the museum. One of the best examples is a large painting called “A soirée in the studio,” displayed next to a chart that identifies the various party-goers.

“Painting pictures of themselves and each other became increasingly popular with the artists during the 1890s and contributed to their popularity with a broad audience, but also giving rise to a good deal of curiosity. Social life and dialogues on art trends was the cement that bonded the artists and made the artist colony and the concept of Skagen painters possible.”

~Skagens Museum

Epilogue

It was late afternoon when we left the museum to look for the shuttle stop where we could catch the bus back to the ship. When Herb and I reached the designated street, the bus was pulling away from a parking spot across the street and heading in the opposite direction from the port. As we hurried across the street, a man appeared – we weren’t sure who he was; perhaps he worked for the bus company or the City of Skagen – motioning for us to return to the other side of the street.

“The bus is just turning around at the end of the street,” he told us. “Wait here and I will make sure he stops for you.” By that time, we were joined by several other people returning to the ship, and this incredibly kind man was standing in the street, waving down our bus. And most amazing of all, he didn’t leave until all of us were on board and the bus was on its way to the port.

Once again, thoughts of the friendliness and generosity of the people we’d me in Copenhagen nine years ago came flooding back. Suddenly this man’s behavior made perfect sense. I turned to Herb and couldn’t stop smiling. “Of course!” I told him. “We’re in Denmark.”