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Michael Ancher
julenissen star model
1888
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Michael Ancher
en rekonvalescent. ca
1890
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Michael Ancher
den druknede
1896
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Michael Ancher
juledag
1900-1903
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Michael Ancher
alba schwartz
1901
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Michael Ancher
portraet af gamle fru brondum
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Michael Ancher
carl locher med sin hund tiger
1909
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Michael Ancher
kunstdommere
1906
frederiksborgmuseet
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Michael Ancher
A Baptism
1883-1888
Oil on canvas
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Michael Ancher
Anna Ancher reading
1881(1881)
Oil on cardboard
45.5 x 37.5 cm
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Michael Ancher
Appraising the Day Work
1883(1883)
Oil on canvas
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Michael Ancher
Figures in landscape
1889(1889)
Oil on canvas
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Michael Ancher
Two Fishermen beside a Boat
1864-1920
Oil on wood
104.5 x 139 cm
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Michael Ancher
Fishermen setting a rowing boat ashore
1881(1881)
Oil on canvas
159 x 223 cm
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Michael Ancher
Fishermen by the Sea on a Summer Evening
1888(1888)
Oil on canvas
141 x 188.5 cm
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Michael Ancher
Girls gathered on Sladrebakken a summernight eve
1879(1879)
Oil on canvas
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Michael Ancher
Henrik Pontoppidan
1908(1908)
Oil on canvas
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Michael Ancher
In the grocery store on a winter day when there is no fishing
1891(1891)
Oil on canvas
115 x 165.1 cm
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Michael Ancher
Christmas Day. 1900
1903(1903)
Oil on canvas
142 x 221 cm
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Michael Ancher
Art Judges
1906(1906)
Oil on canvas
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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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