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), Related Paintings of Michael Ancher :. | Girls gathered on Sladrebakken a summernight eve | en rekonvalescent. ca | viggo johansen i sit atelier | en strandpromenade | Figures in landscape |
Related Artists:Gunnar aberg
Gunnar Berg (21 May 1863 -23 December 1893) was a Norwegian painter, known for his paintings of his native Lofoten. He principally painted memorable scenes of the everyday life of the local fishermen.Thomas Cole
Thomas Cole Galleries
Thomas Cole (February 1, 1801 - February 11, 1848) was a 19th century American artist. He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. Cole's Hudson River School, as well as his own work, was known for its realistic and detailed portrayal of American landscape and wilderness, which feature themes of romanticism and naturalism.
In New York he sold three paintings to George W. Bruen, who financed a summer trip to the Hudson Valley where he visited the Catskill Mountain House and painted the ruins of Fort Putnam. Returning to New York he displayed three landscapes in the window of a bookstore; according to the New York Evening Post, this garnered Cole the attention of John Trumbull, Asher B. Durand, and William Dunlap. Among the paintings was a landscape called "View of Fort Ticonderoga from Gelyna". Trumbull was especially impressed with the work of the young artist and sought him out, bought one of his paintings, and put him into contact with a number of his wealthy friends including Robert Gilmor of Baltimore and Daniel Wadsworth of Hartford, who became important patrons of the artist.
Cole was primarily a painter of landscapes, but he also painted allegorical works. The most famous of these are the five-part series, The Course of Empire, now in the collection of the New York Historical Society and the four-part The Voyage of Life. There are two versions of the latter, one at the National Gallery in Washington, D.C., the other at the Munson-Williams-Proctor Arts Institute in Utica, New York.
Cole influenced his artistic peers, especially Asher B. Durand and Frederic Edwin Church, who studied with Cole from 1844 to 1846. Cole spent the years 1829 to 1832 and 1841-1842 abroad, mainly in England and Italy; in Florence he lived with the sculptor Horatio Greenough.Libri, Girolamo dai
Italian Painter, ca.1474-1555
Illuminator and painter, son of Francesco dai Libri. He was evidently trained by his father, but he received commissions for altarpieces as well as manuscripts. Documents indicate that he lived in Verona all his life, but an early miniature of the Nativity, the only work by him in a series of choir-books almost certainly painted in Ferrara, suggests that he may have spent some time there. Vasari's record that he worked as an illuminator in the monastery of S Salvatore in Candiana (Padua) may be true, as some of Girolamo's surviving miniatures were executed for the abbey. The only record of Girolamo's views on his art occurs in a register of 1544: 'a good and worthy painter must know how to imitate nature well and to feign that which nature makes, and he must be universal in depicting landscapes