Shortly after arriving in Paris in December 1888, Marie ran into Krøyer at the Café de la Régence, a favorite with the many Danish artists living in the city at the end of the 1880s.
She waved at Krøyer, who was walking past, recognizing him from his occasional visits to the ladies' classes in Copenhagen and from the sittings when she modeled for the painting A Duet (1887).
Krøyer, who did not particularly remember her from Copenhagen, immediately fell madly in love with her.
Following their engagement on 7 May, they were married on 23 July 1889 at the Triepke's home in Augsburg, Germany. (
The Triepkes had been forced to move back to Germany in 1888 on account of the father's loss of employment.)
They spent their honeymoon in Stenbjerg, a fishing village in the northwest of Jutland on the former island of Thy, avoiding the attention of the artists in Skagen.
It was there that Krøyer painted the first in a long series of portraits of his wife.

They then traveled extensively in Italy where they visited Amalfi and Ravello.
While she was there, Marie contracted typhoid, which discouraged her from doing much painting, though one surviving work of Marie's from this trip is a study of a little Italian girl.
The couple returned to Denmark in December 1890.
After periods spent in Copenhagen and Hornbæk they went to Skagen in May 1891.
For the next few years, they spent their summers in Skagen and their winters in Copenhagen.
While in Skagen, they first stayed in Brøndums Hotel, but from 1894 they rented a house in Skagens Vesterby, and in 1895 they moved into a house of their own in Byfogedskoven.
The summers Krøyer spent with his wife in the 1890s were clearly a source of inspiration for him, especially as Marie had a strong sense of beauty herself, often quoting Keats' "Beauty is truth, truth beauty".

Her marriage with Krøyer apparently diminished Marie's ambitions to make a name for herself as a painter.
Indeed, only one work can be said with certainty to have been painted by her in Skagen.
Instead, she concentrated on enhancing their summer residence, designing various pieces of furniture, just as she did while they spent their winters at their home in Copenhagen's Bergensgade.

Exactly what discouraged Marie from painting is not very clear, but there is little evidence she received any encouragement from Krøyer.
From her correspondence, it can be seen she lacked self-confidence and had problems with her health.
She also appears to have suffered from post-natal depression after her daughter Vibeke was born in 1895.
Several of her friends and associates described her as rather withdrawn, often complaining of headaches and retiring to bed, perhaps as a result of her marital problems.

While Vibeke was still a small child, Krøyer's health started to deteriorate with bouts of mental illness, making the marriage increasingly difficult.
In 1900, he was admitted to the mental hospital in Middelfart, the first of many lengthy stays.
The couple spent less and less time together and often travelled alone.
It was during a visit Marie made to Taormina, Sicily, in 1902 that she first met Hugo Alfvén.
Shortly after arriving in Paris in December 1888, Marie ran into Krøyer at the Café de la Régence, a favorite with the many Danish artists living in the city at the end of the 1880s. She waved at Krøyer, who was walking past, recognizing him from his occasional visits to the ladies' classes in Copenhagen and from the sittings when she modeled for the painting A Duet (1887). Krøyer, who did not particularly remember her from Copenhagen, immediately fell madly in love with her. Following their engagement on 7 May, they were married on 23 July 1889 at the Triepke's home in Augsburg, Germany. (The Triepkes had been forced to move back to Germany in 1888 on account of the father's loss of employment.) They spent their honeymoon in Stenbjerg, a fishing village in the northwest of Jutland on the former island of Thy, avoiding the attention of the artists in Skagen. It was there that Krøyer painted the first in a long series of portraits of his wife.
They then traveled extensively in Italy where they visited Amalfi and Ravello. While she was there, Marie contracted typhoid, which discouraged her from doing much painting, though one surviving work of Marie's from this trip is a study of a little Italian girl. The couple returned to Denmark in December 1890. After periods spent in Copenhagen and Hornbæk they went to Skagen in May 1891. For the next few years, they spent their summers in Skagen and their winters in Copenhagen. While in Skagen, they first stayed in Brøndums Hotel, but from 1894 they rented a house in Skagens Vesterby, and in 1895 they moved into a house of their own in Byfogedskoven. The summers Krøyer spent with his wife in the 1890s were clearly a source of inspiration for him, especially as Marie had a strong sense of beauty herself, often quoting Keats' "Beauty is truth, truth beauty".
Her marriage with Krøyer apparently diminished Marie's ambitions to make a name for herself as a painter. Indeed, only one work can be said with certainty to have been painted by her in Skagen. Instead, she concentrated on enhancing their summer residence, designing various pieces of furniture, just as she did while they spent their winters at their home in Copenhagen's Bergensgade.
Exactly what discouraged Marie from painting is not very clear, but there is little evidence she received any encouragement from Krøyer. From her correspondence, it can be seen she lacked self-confidence and had problems with her health. She also appears to have suffered from post-natal depression after her daughter Vibeke was born in 1895. Several of her friends and associates described her as rather withdrawn, often complaining of headaches and retiring to bed, perhaps as a result of her marital problems.
While Vibeke was still a small child, Krøyer's health started to deteriorate with bouts of mental illness, making the marriage increasingly difficult. In 1900, he was admitted to the mental hospital in Middelfart, the first of many lengthy stays. The couple spent less and less time together and often travelled alone. It was during a visit Marie made to Taormina, Sicily, in 1902 that she first met Hugo Alfvén.
Marie Krøyer