Loeb Danish Ardt Collection - page 68


]
MICHAEL ANCHER
   ‒    
 .
Fisherman’s Wife Knitting on Skagen Beach
(Strikkende
fi
skerkone på stranden)
Oil on canvas,

x
⅔
in. (

x

cm)
Signed with initials lower right: MA
       :
Arne Bruun Rasmussen, Auction

,

, lot
, ill. p.

.
(An almost identical version,
½
x

in. [

x

cm] signed lower right: M. Ancher was sold at auction, Kunsthallen,

.

.

,
lot
).
         :
Scandinavia House, New York,
Danish Paintings from the Golden Age to the Modern Breakthrough, Selections from the
Collection of Ambassador John L. Loeb Jr.
,

, no.
.
         :
Patricia G. Berman,
In Another Light, Danish Painting in the Nineteenth Century
, New York

, ill. p.

.
F
rom the time that Ancher
fi
rst came to Skagen in

, the sea o
ff
Skagen challenged him. In his younger
years he was most frequently tempted by storm and surf; in his later years (when he painted this picture)
he painted mainly calm seas. Whereas Krøyer preferred the evening twilight, Ancher from the start chose
the warm, reddish light of sunset. This is seen in
A Lay Preacher Holding a Service on Skagen Beach
,

, (Ska-
gens Museum), which like the present work contains the frequently repeated motif of a
fi
sherman’s wife
sitting on a boat. Through lifelong practice, Michael Ancher mastered the depiction of the famous Skagen
light at all times of the year. Here he has been intrigued by the contrast between the cool blue of the deep
shadows and the sunlight falling on the sand. The model is known from other studies and larger paintings.
E.F.
1...,58,59,60,61,62,63,64,65,66,67 69,70,71,72,73,74,75,76,77,78,...533
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