Anna Ancher

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Anna Ancher: Self-Portrait (around 1877/78)

Anna Kirstine Brøndum Ancher (born Brøndum * 18th August 1859 in Skagen ; † 15. April 1935 ibid) was a Danish painter of Impressionism . She was a Skagen painter and was the only one of the known artist community to actually be born in Skagen.

What should be emphasized about Ancher's painting is the successful color design of sun-drenched interiors. Based on naturalism and inspired by the impressionistic painting style, Anna Ancher developed an independent visual language. While her male colleagues painted plein air, Anna Ancher preferred interior views. Frequent motifs are women who are busy with everyday activities in their simple kitchens, living rooms and work rooms: They pluck chickens, breastfeed their babies, sew or sit in an armchair like a blind woman in their room. Through incident sunlight , which is visible as a bright reflex on the wall, Ancher refers to the momentary nature of the scene and at the same time gives the everyday tristesse a poetic shine. In this special synthesis of naturalism and symbolism , images of life emerge which, with their tendency towards abstraction and intensification of color intensity, achieve an emotional expressiveness that made Ancher one of the most innovative painters of her generation.


Childhood and youth

Brøndums Hotel, Skagen, Denmark

Anna Brøndum grew up as the second youngest of six children of the couple Erik Brøndum (1820–1890) and Ane Hedvig Brøndum, née Møller (1826–1916). She had a very close and intimate relationship with her siblings as well as with her cousins ​​Henriette and Martha Møller throughout her life. Numerous letters that the artist wrote to Martha have survived. There is little written evidence about childhood and early adolescence. A self-testimony in which the artist recounts her childhood memories is available in a short article from 1911. In it she describes some childhood experiences. The deep bond with her mother, whom she showed a lot of respect, is particularly evident here. Ane Hedvig Brøndum was a woman of faith and regularly took her daughters to church and evening Bible readings.

Erik and Ane Brøndum ran a shop and the only inn in Skagen. Some artists from the Copenhagen Academy came here in the 1870s, mainly in the summer months . The year 1874 became of particular importance for Anna through the stay of the painter Karl Madsen (1855–1938) , who was only a few years older and who was coming from the Copenhagen Academy . He visited Skagen several times, this year with his college friend, the Bornholm- born painter Michael Ancher (1849–1927). Anna developed a special relationship with Michael Ancher in the first year of his visits. It is thanks to the advocacy of these artists and the openness of the parents towards art that they soon agreed to send their daughter to Copenhagen.

The apprenticeship in Copenhagen

Anna Brøndum was to take drawing lessons at Vilhelm Kyhn's private drawing school , which was an exception at the time. It was not until fourteen years after her career decision, in 1888, that an art school for women was opened at the academy in Copenhagen . Up until 1908, classes were held separately, i.e. still separate from the male students. In the autumn of 1875 she traveled to Copenhagen for the first time, in order to attend the drawing school of the landscape painter Vilhelm Kyhn for three winters, which he had been running in his private apartment since the late 1860s. She spent the summer in Skagen again, where she continued to work under the guidance of the artists. She mainly learned to paint portraits . In the autumn of 1877, before the painter completed the last part of her training with Kyhn, she became engaged to Michael Ancher in Skagen. The artist's apprenticeship with Kyhn from autumn 1875 to spring 1878 provided the artist with basic professional instructions for painting; However, essential steps in her artistic career were taken in Skagen.

Return to Skagen

Michael and Anna Ancher's house in Skagen

Ancher's close ties to Skagen are shown not only in the paintings and sketches she made over decades , but also in the painter's written statements. She emphasized the peace and quiet, which she found stimulating, in stark contrast to the hustle and bustle of the big city. The painter experienced her first public success in 1880 at the great Charlottenborg spring exhibition, where she exhibited under her maiden name Anna Brøndum and was praised by the daily critics as "a particularly promising debutante". From then on, Anna Ancher regularly took part in the annual spring exhibitions with a total of around 188 works. In the same year, exactly on the painter's 21st birthday, Michael Ancher's wedding took place in Skagen.

In the summer of 1882, Anna Ancher went on her first trip abroad with her husband, who had received a grant from the state. It led via Germany to Vienna, where Michael Ancher was represented with a painting at the First International Art Exhibition in Vienna . Here she discovered Vermeer and the Dutch 17th century for herself, and she met the renowned Danish painter Peder Severin Krøyer , who came to Skagen that same summer. In 1883 Anna and Michael Ancher's only daughter Helga was born. After their daughter was born, they moved to the house in Markvej in Skagen in 1884, and the painter continued to work as an artist. The Brøndum family looked after Helga when Anna and Michael Ancher went on their travels. One of the longer trips took her to Paris, Holland and Belgium in 1885. In 1888, the year of the “Great French Exhibition”, the Anchers undertook another trip to Paris : accompanied by their Finnish friend and artist Hanna Rönnberg, they traveled to the French art metropolis, where Anna took art lessons from Puvis de Chavannes . In 1891 Anna Ancher took part in the "Great International Exhibition" in Berlin. Since 1887 Anna Ancher has continuously participated in exhibitions, including the world exhibitions in Paris, Chicago , Berlin , Budapest and Rome .

Anna Ancher died in 1935 at the age of 75. The collection at Skagens Museum means that a considerable part of her work is available to the public. The daughter Helga Ancher bequeathed her parents' house to a museum foundation: The Michael & Anna Anchers Hus can be visited.

The international art

The response to the Danish art shown at the World Exhibition in Paris in 1878 was very negative, and a new generation, led by the art historian Julius Lange , recognized the reason for this in the national isolation of the previous decades. The painters, who had depicted the life of the people and only rarely traveled further than Jutland, were followed by a generation of ambitious artists, for whom an educational trip abroad, mostly to France , represented the crowning glory of their years at the art academy. P. S. Krøyer as well as Laurits Tuxen received further training at painting schools in Paris. None of them realized, however, that realism was now on the decline. In the 1880s, the artists in the Skagen artists' colony preferred an open air painting that gave new meaning to the artist, his friends and his surroundings, but they did not break away from the traditional style of painting. The extraordinarily talented Krøyer and Michael Ancher, with their solid portrayals of the heroic deeds of the fishermen, each embody the completion of an era. Only Anna Ancher from Skagen, who married Michael Ancher in 1880, indicated Impressionism with her sensitivity to the special light of Skagen. The same applied to the landscape painter Theodor Philipsen , who in his youth had contact with the French Paul Gauguin during his stay in Copenhagen and who later found his bright and colorful motifs among the animals on the island of Saltholm.

Anna Ancher and the artist community of Skagen painters

Hip Hip Hooray! Artist's breakfast in Skagen, PS Krøyer, 1888

The Skagen painters occupy an important place in Danish art history ; They created open-air painting and depictions of folk life - the latter unsentimental , i.e. different from the peasant genre of the Düsseldorf Academy and its students . The artist community founded by the Skagen painters, which was inspired by naturalism and impressionism, was grouped around the central personality Peder Severin Krøyer . Other painters besides Krøyer, the Norwegian painter Christian Krohg and the Ancher couple were Viggo Johansen , Karl Madsen , Laurits Tuxen (1853–1927) and Karl Locher . Several members of the association were related to Anna Ancher or by marriage. The impressionistic painting style Christian Krohgs (1852-1925), who had already come in 1879 for the first time to Skagen, exerted influence on Anna Ancher artistic creation in the 1880s from. Karl Madsen, who soon devoted himself exclusively to art history instead of painting, was a good friend of the artist and was also one of Anna Ancher's most dedicated critics and supporters. There was also a friendship with the internationally acclaimed Danish literary historian and critic Georg Brandes . As early as 1908, the artists jointly founded the Skagen Museum. It is located on the site of the former hotel garden, which the hotel owner and brother Anna Anchers, Degn Brøndum, had made available to the museum. The former home and studio of the Anchers is also part of the Skagen Art Museum.

Work and meaning

Sewing fisher girl , around 1890

The painter Anna Ancher, who has so far barely been noticed in the more recent non-Scandinavian art history, is considered a gifted colourist. She is recognized to play an important role in the generation of painters who took up the impulses of the French Impressionists and helped modernism to break through in Danish painting. Her work is always described as particularly high-quality in connection with the representation of the Skagen artist colony to which she belonged. At the same time, it is emphasized that she limited herself thematically to motifs from her domestic environment in Skagen. Above all, the unmistakable, bright and at the same time subtle colors of her pictures give her artistic work lasting value according to this previous assessment. Art historical derivation and classification of the painting Anna Ancher has been limited to the determination of their interest in the Dutch painting of the 17th century and the fact that she received suggestions from various fellow painters in Skagen, of which Karl Madsen, Michael Ancher and Norwegian Christian Krohg mostly be mentioned by name. Above all, the latter, coming from Paris in 1882, under the influence of Manet and other impressionists, brought about the decisive color innovations in the artist's work.

Anna Ancher deserves a prominent position in European painting of the 19th and early 20th centuries, which by no means has to shy away from comparison with artist names that have hitherto been much better known internationally, such as Max Liebermann , Mihály Munkácsy , Jozef Israëls , Johan Hendrik Weissenbruch or Anton Mauve . She shares with these artists the conscious reception of Dutch painting of the 17th century and the admiration for the great model Jean-François Millet . Independent of the above, she has developed a completely independent color scheme, influenced by the currents of French Impressionist painting, but mainly used this for her content-related concerns. Even if the mediating role of the Norwegian painter Christian Krohg, who was trained in Germany and France, should by no means be underestimated, Anna Ancher's painting can assert itself in terms of quality alongside his dedicated art.


Sunshine in the blue room (Helga Ancher in her grandmother's room), 1891

In Denmark, Anna Ancher is popular as an interior painter with a very special coloristic ability, which relates specifically to the rendering of sunshine in the interior. Figures who animate these spaces have a subordinate role. Anna Ancher's best-known interior is probably sunshine in the blue room from 1881. In contrast to the low interiors of the typical Skagen houses, the blue room in Anna's parents' house was a room with high windows and home-style interior furnishings. The strong colors correspond to contemporary tastes and regional customs: blue wallpaper or wall painting, blue upholstery fabric for the chairs, golden-yellow window curtains, a carpet that repeats the colors of the wall and curtains in a generous striped pattern. The sunlight shining in through the two narrow, high windows brightens the colors extensively by drawing the light reflex of the window shape with its frame division on the window reveal, on the wall and, in a freer form, on the carpet. The little daughter of the artist, who - seen diagonally from behind - sits crocheting in front of the window, is part of the cheerful colors of this sunny room. The blue dress apron matches the blue of the walls, the brown dress and stockings match the wood tone of the furniture, the golden blonde of the hair matches the color of the curtains.

Anna Ancher's painting “Pigen i køkenet” (Girl in the Kitchen) from 1886/87, like the painting “Ut i världen” (Out into the world) by Finnish Maria Wiik from 1889, shows a woman in front of the sheeting of a curtain shining through with sunlight . The women are framed again by this form of one of the lighting; their contours sharpen in the backlight and their heads seem to emit light themselves. Anna Ancher creates a color and structure contrast between the light yellow, translucent curtain and the deep black blouse of the woman at the window, which is reinforced by the red skirt. The same contrast is used by Maria Wiik and surrounds the standing young woman with an aura in her picture.


Ane Hedvig Brøndum , the artist's mother, 1913

Anna Ancher, as a portrait painter, preferred to choose her models from close family circle. Her mother, Ane Hedvig Brøndum, her husband Michael Ancher and their daughter Helga are among the most frequently portrayed by her. In addition, there were close friends and acquaintances of the family, but above all simple people from Skagen, whom she knew well as neighbors and portrayed them in portraits in the small fishing village regardless of their social rank. A form of portrait often chosen by Anna Ancher is the strict profile, particularly often as a half-length or three-quarter length portrait. Undoubtedly, she tied in with the current portraiture of her Skagen artist colleagues.

mother and child

One of the series of serious representations of dignified female figures is the picture Young mother with child . The unusual lighting that leaves the front of the head, forehead, nose, eyes, mouth and chin in deep shadow, while the back of the head, the ear and the broad cheek as well as the back of the neck are bathed in bright daylight is striking. The lowered gaze hides the melancholy, inward-looking expression of this young mother, who holds her toddler intimately in her arms but does not seek eye contact with him. The viewer only sees the blond, also brightly lit back of the child's head, which rests in the right crook of the mother's arm. Heavy thoughts, loneliness, even sadness seem to express this serious, even face of the young mother. The very deliberate use of contrast between light and shadow makes the contrast between her youth and her mood all the more emphatic. However, the upright posture of the back and head of the young woman indicate a strong will and the strength to assert herself.

The blind woman

The three previously neglected pictures Old Woman with Bundles of Brushwood , Two Women Who Fell Asleep Sitting and One Brooding by Anna Ancher allow us to view and interpret better-known pictures by the artist in a new context. This applies in particular to the two more frequently depicted paintings A blind woman in her room from 1883 and Sunshine in the blind woman's room from around 1885, each with an associated oil study, and the thematically related portrait The blind woman (Blå Ane) from 1882 This whole group of works demonstrates the artist's intense engagement with the fate of an old, blind woman from Skagen over several years. Even the earliest painting Die Blinde Frau , the portrait of the blind woman turned to the left in strict profile and sitting in a three-quarter length figure on a simple wooden chair, shows Anna Ancher's deep seriousness and human sympathy.


If the feeling of mourning in the picture Young Mother with the Child from the 1990s was already evident, it becomes clearer in the painting Am Grab from 1913. A young woman with a white headscarf sits at the very front of the picture in strict profile to the right agile. The figure, dressed in a wide, dark robe, has moved to the left edge of the picture and is cut from the lower edge at about knee height. She has put her hands together in her lap, her lowered gaze and the slightly curved mouth express emotional pain in a cautious manner. Several decorated graves become visible behind the woman, over which the gaze wanders into a wide flat landscape to the horizon. A pale sky with delicate pink, yellow and blue tones forms the background for the head and shoulders of the young mourners. It remains open who she mourns. At best, the white headscarf indicates that she is not widowed, but may mourn a deceased child or another close relative. Here, too, Anna Ancher takes up a theme that was characteristic of her art and which had a certain tradition in Danish painting of the 19th century. Mention should be made here of Hans Nikolaj Hansen's rather sentimental painting Auf ein Friedhof from 1880 and Laurits Andersen Ring's painting Auf dem Friedhof von Fløng (1909), which shows an old woman who trusts and is much closer to Anna Ancher's work in terms of mood. Another characteristic of Anna Ancher is the dignity and demeanor of the young mourners, despite the clarity of the picture content.

The later picture Mourning from 1902 was inspired by a dream that Anna Ancher had. The older woman in the picture is her mother Ane Hedvig Brøndum, the young, undressed woman, on the other hand, may be Anna Ancher herself. The picture could describe belief and disbelief. Even though Anna Ancher grew up in a religious environment, she was not religious herself and was influenced in her youth by culturally radical and atheist artists who visited the artist colony. That is why she was between two worlds. Women are opposites in many ways: one is young, the other old, one is naked, the other is clothed. This picture is the only known painting by Anna Ancher in which she depicts unexperienced reality.

Brushwood picking

The affinity and exemplary nature of Jean-François Millet's art for Anna Ancher becomes clear in the thematic context of sheep shearing and sheep washing as well as in picking brushwood . It can be assumed that Anna Ancher knew one or the other picture of Millet and was inspired by it to take up this topic herself. The pen drawing Per Bollerhus with bundles of brushwood from around 1878/79 is even reminiscent of some pen drawings or etchings by Millet in its style. Depicted is Per Bollerhus, one of the poorest Skagen citizens, who Anna Ancher and his wife used as a model several times, and who here strolls through a spacious landscape under the weight of a large bundle of brushwood. More than twenty years later, Anna Ancher depicted the motif collecting brushwood again, in a small-format picture: An old Skager woman with a bundle of brushwood on her back sits exhausted on a low elevation in a wide, flat dune landscape with a high horizon.

Exhaustion and sadness

The small picture of the exhausted brushwood collector is by no means isolated in Anna Ancher's work. In 1918, for example, she depicted her two sisters Hulda and Marie in an impressive oil painting of how they fell asleep while sitting. While one is sitting upright with crossed arms and leaning her upper body directly against the wall of the room, the other has moved her chair close to a large table on which she supports her arms, which are also folded and spread out wide. Her head has sunk on her left upper arm. Falling asleep in this uncomfortable posture shows that the two women, who are already graying, are very exhausted. We know from the family history of the Brøndums that the unmarried sisters worked very hard in the family business of Brøndum's inn well into their old age, as you can see in this picture. So it is not only to be interpreted as an idiosyncratic double portrait, but as a representation of a state of exhaustion that the painter deeply sympathized with, the meaning of which can be generalized beyond the individual fate of these two women.

Poultry plucking

Anna Ancher repeatedly presented the topic of “poultry plucking” in different variations and over decades of her work. The earliest picture is the painting Zwei Alte rupfen Möwen , which was created after her first trip abroad to Germany and Vienna in 1882 and was exhibited in Copenhagen in spring 1883. This image has repeatedly been associated with Max Liebermann's goose pluckers from 1872. What both pictures have in common is the colourfulness in which the figures, with their predominantly dark working attire, stand out from the interior, which is painted in dark tones, only through a few light items of clothing and through their faces and hands. Similar is the concentration of the pulling people on their actions, the seriousness with which they work, the lack of anecdotal or even sentimental traits. The characterization of workers as belonging to the poorest rural population, which caused so much offense in Wilhelminian style Berlin, applies here as there.

Anna Ancher took up the subject for the second time in the picture Alte Lene, plucking a goose , which was probably made in the first half of the eighties. Here the process of plucking a goose before roasting is staged in an almost monumental composition, sometimes in a sketchy style. The old Lene stands three-quarter figure very close in front of the viewer. She holds the almost finished plucked goose by the neck with her left hand while she plucks with her right hand and collects the feathers in a large copper vessel on which she leans the bird. Its drooping wings and the "upturned" neck with the head with its beak open give the dead animal an almost accusatory expression. With the earlier picture of the two seagull pluckers, this one shares the seriousness and dignity of the old woman at work. The color scheme differs, although it is still strongly modeled out of the dark, but is given a strong and lively accent by the bright red of the blouse.

Sheep shearing and washing

Another subject of agricultural work depictions that Anna Ancher painted several times is sheep shearing or sheep washing. Two landscape-format studies ( sheep shearing , 1900 and sheep washing in front of a house , 1920) each show a peasant family doing the washing or shearing together. The sheep wash takes place in front of a typical Skagen house. A man and a woman in large working aprons clean the sheep in a wooden tub, while another woman pours water into it from behind. A little girl is standing in front, looking from the back, and two more sheep are waiting on the right. Although this study of composition and movement is only a sketchy representation of a scene, it is very convincing as a representation of a family “working group”. This aspect also applies to the picture sheep shearing . Here a man leans head-on over the sheep lying on a barrel while shearing, while his wife is sitting on the right in the picture and holding the head of the animal soothingly on her lap. On the left a girl stands in profile and watches the procedure. This scene is given very close-up in an interior space that is only hinted at.


Landscape paintings by Anna Ancher are very rare and have certainly not shaped her artistic fame. On closer inspection, however, they show that the artist also created something remarkable in this area. In addition to scenes near the house or in the garden, two depictions of streets in the fishing village of Skagen from around or after 1915 form a kind of intermediate link to “pure” landscape images.

Anna Ancher on the screen

Michael Ancher: Anna Ancher returns from the field , 1902
PS Krøyer: Summer evening on Skagen's south beach , 1893

In a painting from 1902, Anna Ancher returns from the field , Michael Ancher portrayed his wife Anna. She walks through a cornfield in a long, light dress with a straw hat and carries a large bouquet of yellow flowers in her arms. It is a warm and atmospheric picture that is dominated by the summer sky and the blue and yellow colors of the field and in which Anna can be seen as a relaxed and at the same time active woman; in the background on the left the tower of the silted up church can be seen. The picture is one of Ancher's main works and conveys a lot about the artist himself, about Anna and not least about the relationship between the two. The motif resembles a photo from around 1890 in almost every detail, and there is a lot of preliminary work for this work that suggests that Michael Ancher worked on it over a longer period of time.

The Danish painter Peder Severin Krøyer depicted his wife Marie Krøyer and Anna Ancher in the picture Summer Evening on Skagen's south beach in 1893 on a walk on the beach.

Works (selection)

  • Two old plucking seagulls , 1872
  • Portrait of a Young Woman with Glasses , 1875/77
  • Self-portrait , 1877/78
  • Per Bollerhus with his bundle of brushwood across the heath , 1878/79
  • Grace , 1880s
  • Evening sky over houses , 1880s
  • Heathland with a young woman , 1880s
  • At the meal , 1880/85
  • The blind woman, Blå Ane , 1882
  • Head of an Old Woman (Lene) , 1882
  • A blind woman in her room , 1883
  • Alte Lene plucking a goose , 1883
  • Looking at the daily work , 1883
  • Girls in the Kitchen , 1883
  • Boats in the moonlight on the south beach , around 1883
  • Helene Christensen in Brøndum's garden , 1884
  • Sunshine in the blind's room , 1885
  • Young woman with a white headscarf , 1885
  • Portrait Michael Ancher , 1885/1900
  • A young girl arranges flowers , 1885
  • Fischer Kræn Wollesen patching his net , 1886
  • Tine, young girl from Skagen , around 1886
  • Helga Ancher in her cot with her aunt , around 1887
  • Evening prayer , 1888
  • Portrait of Marie Dalsgaard , around 1888
  • Marie Dalsgaard in a black dress , 1888
  • Skagen woman sitting in front of Tailor Uggerholt's house , 1888
  • Woman with Child in Front of a House , 1888
  • Portrait of the Norwegian painter Kitty Kielland , Paris 1889
  • A funeral , around 1890
  • Old resting woman (Kristen Møller, the artist's grandmother), 1890s
  • In the church , 1890s
  • Girls at church service in Skagen Church , 1890s
  • Sewing fisherman's wife , 1890
  • Fishing girls sewing , 1890
  • John Brøndum plays the harmonica in the red room , around 1890
  • Portrait of Ane Hedvig Brøndum , the artist's mother, 1890s
  • Portrait of Karen Svendsen , 1890s
  • A mother with her child , 1890/1895
  • Young mother spinning with her child , 1890/1895
  • Portrait of a Woman in a Straw Hat and a Green Dress , 1890/1900
  • Portrait of Michael Ancher in a blue coat , 1890/1905
  • Mother with two children , 1890/1910
  • Woman shearing sheep , 1890/1910
  • Cornfield at harvest time , 1890/1910
  • Mother with child and accordion player , 1890/1910
  • Sunshine in the blue room , 1891
  • A funeral , 1891
  • Old fisher woman , 1892
  • Portrait of Ane Hedvig Brøndum , the artist's mother, 1895/1900
  • Last Supper in Skagen Church , 1899
  • Red-haired mother with her baby , around 1899
  • Young woman in front of a mirror , 1899
  • Portrait Michael Ancher , around 1900
  • Grace , around 1900
  • Young girl plucking a swan , 1900
  • Sheep shearing , 1900
  • Young woman with a child in her arms , 1900/05
  • The red room , 1900/10
  • Interior with chest of drawers , 1900/10
  • Cornfield , 1900/10
  • Heathland with a blue-ocher sky , 1900/10
  • Sea beach with surf , 1900/10
  • Dunes with a reddish sky , 1900/10
  • Harvest time , 1901
  • The new hunting boots , 1903
  • Breakfast before the hunt , 1903
  • Entrance to our garden (Michael and Anna Ancher's house), 1903
  • A mission sermon , 1903
  • Old woman with a bundle of brushwood (Laurendse), around 1903
  • The painter Vilhelm Kyhn, smoking a pipe , (1903?)
  • Breakfast before the hunt , 1903, Skagen
  • Plucking the Christmas Geese , 1904
  • Moon-bright evening. Skagen Lighthouse , 1904
  • Ane Hedvig Brøndum , the artist's mother, around 1905
  • Interior with Poppies and Woman (Lizzy Hohlenberg), 1905
  • Portrait of a Skagen Woman , 1905
  • The little brother , 1905
  • Woman sitting in bed in front of the blue wall of a room , around 1905
  • Portrait of a Lady with a Dark Hat in the Garden , 1905/10
  • Flower arrangements, 1905/1915
  • Portrait of the port engineer Palle Bruun , around 1906
  • Bonatzi with cock , 1906
  • A room with large windows , 1906/1909
  • Head of an Old Woman (Stine Karre), 1908
  • Churchgoers , 1909
  • Before the King's Visit , 1909
  • Ane Hedvig Brøndum in the red room , around 1910
  • Interior with a sewing woman , around 1910
  • Grandmother is entertained , 1912
  • At the grave , 1913
  • Two girls in a sewing class , 1910
  • Ane Hedvig Brøndum in the blue room , around 1910
  • Ane Hedvig Brøndum sitting at the table , 1910
  • Blue clematis in the artist's studio , 1913
  • At lunchtime , 1914
  • Interior with green walls and blue door frames , 1914
  • Woman knitting , 1915
  • Dining table with punch glasses and bottles , 1915
  • Daphnesvej in Skagen-Østerby , around 1915
  • Østerbyvej in Skagen-Østerby , around 1915
  • Lunch in the garden , 1915
  • When plucking chicken , around 1910/15
  • The birthday , 1910/15
  • Woman with an infant and two other children at the table , 1915/1920
  • The Brøndum annex , 1918
  • Sheep washing in front of a house , 1920
  • Three old seamstresses (a blue dress is sewn for a costume party), 1920
  • Portrait Michael Ancher , 1920s
  • Three ladies on a garden bench , 1920s
  • Michael Ancher painting in his studio , 1920s
  • Grandmother with her grandchildren , around 1925


Anna Ancher's life was portrayed in the film under the title Anna Ancher - An Introduction to Anna Ancher's Life and Art .


  • Heide Grape-Albers: painter Anna Ancher (1859-1935) in Skagen. Hanover 1994, ISBN 3-929444-04-6 .
  • Nils Ohlsen: Scandinavian interior painting at the time of Carl Larsson. Reimer, Berlin 1999, ISBN 3-496-01198-X .
  • Gerhard Kaufmann (ed.): Skagen artists' colony. An exhibition by the Skagens Museum in Skagen, Denmark in the Altonaer Museum in Hamburg April 12–11. June 1989. North German State Museum, Hamburg 1989.
  • Claus Jacobsen: Anna Ancher. Aschehoug Dansk Forlag A / Sm Copenhagen, 2004.
  • Alette Rye Scales: Anna Ancher. Danish painter, 1859-1935. In: Delia Gaze: Dictionary of Women Artists. Volume 1. Fitzroy Dearborn, London 1997, ISBN 1-884964-21-4 .
  • Lise Svanholm: Damerne på Skagen. Gyldendal, Copenhagen 2006 ISBN 87-02-04499-4 .
  • Rudolf Zeitler: Scandinavian art around 1900. VEB EASeemann Verlag Leipzig 1990, ISBN 3-363-00410-9 .

Web links

Commons : Anna Ancher  - Collection of pictures, videos and audio files

Individual evidence

  1. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 14.23.
  2. The letters are archived in the Royal Library of Copenhagen, among others. Part of this correspondence was published in 1984, compare Voss 1984.
  3. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 14.
  4. A. Ancher 1911, p. 3.
  5. a b exh. Kat.Vilhelm Kyhn, Kunstverein, København 1993 p. 44.
  6. Exhibition cat. Efter Hjemkomsten, ed. by Mette Thelle and Finn Larsen, Randers Kunstmuseum, Randers 1990, p. 20.
  7. ^ Vilhelm Kyhn writes on the occasion of the engagement, letter of November 26, 1877, published in Fabritius 1992, p. 84 (collection of letters in the Helga Ancher Foundation).
  8. Berlingske Tidende, May 25, 1880. Quoted in: Bente Scavenius: Fremsyn-Snæversyn . Dansk dagbladskunstkritik 1880–1901. Copenhagen 1983. pp. 15 and 30 (the author analyzes exhibition reviews in the daily press between 1880 and 1901 in her publication)
  9. Voss, 1975 p. 124 f.
  10. The Anchers indicate the destination of their journey in a letter dated January 13, 1895 to Philip Weilbach . Filed in Weilbach's art dictionary . Voss 1987, p. 60.
  11. ^ Letter of January 13, 1895 to Philip Weilbach. Filed in Weilbach's art dictionary . Voss 1987, p. 60.
  12. Hanna Rönnberg 1931, p. 60.
  13. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 23.
  14. ^ Johan Thomas Lundbye : Danish coast: Motif from Kitnæs at the Isefjord, 1842. Statens Museum for Art / Dowic Fotografi. P. 13.
  15. Rudolf Zeitler: Scandinavian Art around 1900. P. 68.
  16. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 54.
  17. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 73.
  18. ^ Nils Ohlsen: Scandinavian interior painting at the time of Carl Larsson. P. 102.
  19. ^ Heide Grape Albers: painter Anna Ancher in Skagen. Pp. 69-70.
  20. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 66.
  21. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 65.
  22. ^ Heide Grape Albers: painter Anna Ancher in Skagen. Pp. 68-69.
  23. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 61.
  24. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 63.
  25. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 55.
  26. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 57.
  27. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 60.
  28. ^ Heide Grape Albers: painter Anna Ancher in Skagen. P. 78.
This version was added to the list of articles worth reading on October 29, 2008 .