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Michael Ancher
anna ancher vender hjem fra marken
1902
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Michael Ancher
glade elsie
1904
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Michael Ancher
en strandpromenade
1896
forrest den unge ida holst, derefter anna holst, sammen med veninden elisabeth bang og sidst minna og sophie holst
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Michael Ancher
fire fiskere ved en bad pa skagens strand
privateje
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Michael Ancher
i kobmandens bad en vinterdag
nar der ikke fiskes,
1891
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Michael Ancher
fiskere trekker vod ved skagen
bornholms museum, ronne
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Michael Ancher
fiskere trakker vod ved skagen
bornholms
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Michael Ancher
fiskere ifard med at satte en rorsbad i vandet
1881
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Michael Ancher
viggo johansen i sit atelier
1875
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Michael Ancher
maend af skagen en sommeraften i godt vejr
1848
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Michael Ancher
den brodumske spisesal i skagens museum
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Michael Ancher
viggo johansen
komponisten carl nielsen
1905
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Michael Ancher
portraet af anna brondum
1878.
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Michael Ancher
vil han klare pynten
1879. privateje
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Michael Ancher
en laegpraedikant holder gudstjeneste pa skagen sonderstrand
1877
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Michael Ancher
fiskere i faerd med at saette en rorsbad i vandet
1881
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Michael Ancher
redningsformand lars kruse
1882
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Michael Ancher
i kobmandens bod en vinterdag, nar der ikke fiskes
1891
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Michael Ancher
portraet af min hustru
1884
den hirschsprungske samling
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Michael Ancher
born og unge piger plukker blomster pa en mark nord for skagen
1887
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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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