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Michael Ancher
Promenade on Skagen Beach (nn02)
1896 Oil on canvas,27 3/16 x 63 3/8''.Skagens Museum/The Skaw Museum,Denmark
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Michael Ancher
fiskerne soren thy og thomas svendsen
1911
se
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Michael Ancher
en rekonvalescent
se
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Michael Ancher
helga i rod kjole
1894
se
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Michael Ancher
det brondumske familiebillede
juledag 1900, 1903
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Michael Ancher
ved en sygeseng, en ung pige lceser for den gamle kone i alkoven
1870
se
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Michael Ancher
redningsbaden fores gennem klitterne
1883
statens museum for kunst.
se
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Michael Ancher
frokost i haven
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Michael Ancher
born og unge piger plukker blomster pa mark nord for skagen
1887
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Michael Ancher
anna ancher lcerer sin datter helga at tegne
julenissen star model
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Michael Ancher
barnedab i skagens
1888.
kunstmuseum
se
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Michael Ancher
pigen med solsikkerne
1893
anna og michael anchers hus
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Michael Ancher
den leende lars gaihede
se
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Michael Ancher
fiskere vender hjem fra nordstranden i aftensol
privateje
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Michael Ancher
fiskere pa vej hjem fra nordstranden i aftenbelysning
se
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Michael Ancher
fisker lars gaihede
1880
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Michael Ancher
soren bondhagen scelger viser
se
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Michael Ancher
christoffer udenfor sit hus
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Michael Ancher
hceklende ung pige, tine
1880
ordrupcadrd
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Michael Ancher
sommeraften pa skagen sonderstrand, anna ancher og marie kroyer
1893.
anna og michael anchers hus
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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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