Loeb Danish Ardt Collection - page 44

such as
Pigen i køkkenet,


,
(The Maid in the Kitchen),
now in Den Hirschsprungske Sam-
ling, and
Blind kone i sin stue (Sunshine in the Blind Woman’s Room)
in several versions.
In

she married Michael Ancher, who throughout his life supported her in her professional
career. Quite unusually for the time, he understood and respected her talent as the more important of
the two. There was no need for her to take care of household chores to any great extent. The couple
had many of their meals in Brøndum’s hostelry, where her family also gave their help and support
when their daughter Helga was born in

. So in spite of her marriage, Anna Ancher had no di
ffi-
culty in painting and exhibiting, which she continued to do throughout her life.
Typical of Anna Ancher’s art is her concentration on the visual, colouristic and human aspects.
She preferred simple motifs, which she painted over and over again with small variations, for instance
a young woman sewing and seen in pro
fi
le against a wall lit by sunlight or re
fl
ections. Her exposure
to the work of Monet in Paris in

quickly made itself felt in her art in the form of a dissolution of
the motif, while a colouristic de
fi
nition of the picture became characteristic of her subsequent work.
After her death, a number of spontaneous oil sketches, visual notes showing how intensely preoccu-
pied she was with studying colour, light and people, were found among her belongings and now form
a part of the museum Michael and Anna Ancher’s House in Skagen.
Anna usually painted close to her home in Skagen Østerby. Her works are realistic, at once pow-
erful in expression and yet unpretentious. She showed a predilection for old women and children, often
seen in relation to each other. The
fi
shermen’s wives, whose features and
fi
gures were marked by the
toils of a hard life, are rounded
fi
gures, harmonious in themselves, and Anna Ancher reproduced the
gentle charm of the children with the same rare empathy. She portrayed her own mother, to whom she
was very close, in a large number of paintings and drawings.
In a small number of cases, Anna Ancher undertook large pictures containing many
fi
gures: in

,
En begravelse (Funeral)
in Statens Museum for Kunst, and in

,
Et missionsmøde
(
A
Revivalist Meeting),
Skagens Museum, portraying a lay preacher speaking in the open air, sur-
rounded by a crowd of listeners either sitting or lying on the dunes.
Right from the early days of her career, Anna Ancher was recognised as an artist on an equal foot-
ing with her male counterparts, and so she was naturally included in the major Scandinavian exhi-
bitions in the

’s and

’s, in international exhibitions, including Chicago

, and in a large
number of other o
ffi
cial Danish exhibitions abroad. In contrast to the other Skagen painters, Anna
Ancher’s work has retained its popularity in Denmark over the years and has probably never been
more highly rated than now, when a public outside Scandinavia is also learning to appreciate her.
E.F.
         :
Karl Madsen,
Skagens Malere og Skagens Museum,
Copenhagen

; Walter Schwartz,
Skagen i nordisk Kunst,
Copenhagen

;
Heide Grape-Albers (ed.)
Anna Ancher, Malerin in Skagen,
Niedersächsisches Landesmuseum, Hanover,

(containing texts by Heide Grape-
Albers, Christine Re
ffl
inghaus, Elisabeth Fabritius, Claus Olsen); Elisabeth Fabritius in:
Weilbach,
Vol.
, Copenhagen

; Elisabeth Fabritius,
Anna Ancher, the Pastels
, Copenhagen

; Christian Gether et al. (eds.),
Anna Ancher
, Museum of Modern Art, Ishøi

(in English, texts by
Anna Rygg Karberg, Lars Skinnebach, Lilian Munk Rösing, Elisabeth Fabritius et al.).
]
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