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Michael Ancher
Henrik Pontoppidan
Date 1908(1908)
Medium Oil on canvas
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Michael Ancher
A Girl with Sunflowers
Date 1889(1889)
Medium Oil on canvas
Dimensions 101 x 95 cm
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Michael Ancher
Anna Ancher reading
Date 1881(1881)
Medium Oil on cardboard
Dimensions 45.5 x 37.5 cm
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Michael Ancher
Fishermen by the Sea on a Summer's Evening
Date 1888(1888)
Medium Oil on canvas
Dimensions 141 x 188.5 cm
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Michael Ancher
The Lifeboat is Taken through the Dunes
1883(1883)
Medium Oil on canvas
Dimensions 171 x 221 cm
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Michael Ancher
Self-portrait
Date 1902(1902)
Medium Oil on canvas
Dimensions 110x88 cm
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Michael Ancher
In the grocery store on a winter day when there is no fishing
1891(1891)
Medium Oil on canvas
Dimensions 115 x 165.1 cm
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Michael Ancher
Pigen med solsikkerne
1889(1889)
Medium Oil on canvas
Dimensions 101 x 95 cm
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Michael Ancher
Anna Ancher reading
1881(1881)
Medium Oil on cardboard
Dimensions 45.5 x 37.5 cm
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Michael Ancher
Fishermen by the Sea on a Summer's Evening
1888(1888)
Medium Oil on canvas
Dimensions 141 x 188.5 cm
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Michael Ancher
Children Singing
1899(1899)
Medium Oil on canvas
Dimensions 56 x 48 cm
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Michael Ancher
Self-portrait
1902(1902)
Medium Oil on canvas
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Michael Ancher
The red rescue boat on its way out
1920(1920)
Medium oil on panel
Dimensions 39 x 52 cm
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| Michael Ancher
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Danish Painter, 1849-1927
He studied at the Kongelige Akademi for de Sk?nne Kunster, Copenhagen (1871-5), where his teachers Wilhelm Marstrand and Frederik Vermehren encouraged his interest in genre painting. He first visited Skagen in 1874 and settled there in 1880, having found that subject-matter drawn from local scenery was conducive to his artistic temperament. In Will he Manage to Weather the Point? (1880; Copenhagen, Kon. Saml.) several fishermen stand on the shore, evidently watching a boat come in. The firmly handled composition focuses on the group of men (the boat itself is invisible); each figure is an individual portrait that captures a response to the moment. Ancher's skill at grouping large numbers of figures with heroic monumentality compensates for his lacklustre colour sense. A change in his use of colour is noticeable in the works produced after an influential visit to Vienna in 1882; he was deeply impressed by the Dutch Old Masters at the Kunsthistorisches Museum, especially the Vermeers. Their effect on his painting can be seen in the Sick Girl (1883),
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