Loeb Danish Ardt Collection - page 53

Ancher now moved in several directions. He continued painting naturalist sunshine pictures from
Skagen Østerby, in which the main emphasis is on colour, mood and the human element. In addition
he produced many monumental compositions presenting
fi
shermen as life-savers, for instance
The
Lifeboat is Taken Through the Dunes,

. At the same time he continued painting his tradi-
tional motifs centered on the lives of ordinary people, and this produced a secure income for him.
Ancher was over thirty years old before he went abroad. In

he visited Berlin, Dresden and
Vienna, where he saw paintings by Rubens (


), Rembrandt (


), Pieter de Hooch
(


) and Vermeer (


), which made an indelible impression on him and made their
mark on his art, as is seen in major works such as
En syg ung pige,

(A Sick Girl)
, in Statens
Museum for Kunst, and the monumental
En barnedåb (A Baptism)
, painted


, now in Ribe
Kunstmuseum. Ancher never renounced the classical demands on composition, but with his experience
of the study of reality ensuing from plein air painting, he created a modern, national
fi
gure painting
which ensured him a prominent place in the history of Danish art.
The

’s brought new movements in art, and the time when Ancher formed part of the avant
garde was past. Although he was not unin
fl
uenced by developments, there were longer intervals
between his major works, for which illness was also partly responsible. Nevertheless, the family por-
trait
Juledag

(Christmas Day

)
from

, in the Skagens Museum, and
Kunstdommere
(Art Critics)
from

, in the Museum of National History at Frederiksborg Castle, must be men-
tioned as striking exceptions.
Road and rail connections to Skagen were established in

, bringing tourists and holiday mak-
ers in hitherto unknown numbers. Many of them commissioned portraits, and others bought Ancher’s
paintings in the summer exhibitions in Skagen. The great public interest in the peak period of the
Skagen Painters in the

’s led to Ancher’s writing his memoirs in the form of notes containing pre-
cise descriptions which also re
fl
ect his warm sense of humour. They formed the basis of the
fi
rst book
on the Skagen Painters written by Alba Schwartz (


).
By

, Ancher was one of the most famous and celebrated painters in Denmark, with countless
marks of honour to his name. He took part in o
ffi
cial exhibitions abroad, including the World Fairs
in Paris in

and

and Chicago in

. (In

Ancher exhibited in the United States at the
Art Institute of Chicago, the Cincinnati Museum Association and the Twelfth St. Louis Exhibition.)
Ancher was among the founders of Skagens Museum in

, and lived to see a long-awaited
building completed before he died in

.
E.F.
         :
Karl Madsen,
Skagens Malere og Skagens Museum
, Copenhagen

; Elisabeth Fabritius,
Michael Anchers ungdom


, Ska-
gen

; Elisabeth Fabritius in:
Weilbach
, Vol.
, Copenhagen

; Peter Nisbet,
Danish Paintings of the Nineteenth Century from the Collection of
Ambassador John L. Loeb, Jr.
, Harvard University Art Museums Gallery Series no.
, Cambridge, Massachusetts

, pp.


; Bente Scavenius
(ed.),
Krøyer and the Artists’ Colony at Skagen
, National Gallery of Ireland, Dublin

; Elisabeth Fabritius,
Michael Ancher og Det Moderne gen-
nembrud,


, Skagen

; Elisabeth Fabritius (ed.),
Skagensmaleren Michael Ancher

. Juni–

, Skagen

; German translation,
Michael Ancher, Maler in Skagen,

.
Juni-

, Skagen

.
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