Danish Painter, 1859-1935 was the only one of the Skagen Painters that was actually born in Skagen, Denmark. Anna Ancher was born and grew up in the northernmost area of Jutland, called Skagen (the Skaw). Her talent became obvious at an early age and she grew acquainted with pictorial art via the many artists who settled to paint in Skagen. Anna Ancher studied drawing for 3 years at the Vilhelm Kyhn College of Painting in Copenhagen. However, Anna Ancher developed her own style and was a pioneer in observing the interplay of different colours in natural light. She also studied drawing in Paris at the atelier of Pierre Puvis de Chavannes along with Marie Triepcke, who would marry Peder Severin Krøyer, another Skagen painter. In 1880 she married fellow painter Michael Ancher, whom she met in Skagen. They had one daughter, Helga Ancher. Despite pressure from society that married women should devote themselves to household duties, she continued painting after marriage. Anna Ancher is considered to be one of the great Danish pictorial artists by virtue of her abilities as a character painter and colourist[citation needed]. Anna Ancher's art found its expression in Nordic art's modern breakthrough towards a more truthful depiction of reality, e.g. in Blue Ane (1882) and The Girl in the Kitchen (1883-1886). Anna Ancher preferred to paint interiors and simple themes from the everyday lives of the Skagen people and fishermen,   Related Paintings of Anna Ancher :. | Breakfast Before the Hunt (nn02) | Ane Hedvig Broendum Sitting at the Table | lars gaihede snitter en pind | Little Brother | Little Brother |
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SUBLEYRAS, Pierre
French Painter, 1699-1749 was a French painter, active during the late-Baroque and early-Neoclassic period, mainly in Italy. Subleyras was born in Saint-Gilles-du-Gard, France. He left France in 1728, having carried off the French Academy's grand prix, which carried scholarship for study in Rome. In Rome, he painted for the Elector of Saxony, Frederick Christian, a "Christ's Visit to the House of Simon the Pharisee" , (later engraved by Subleyras himself), this work procured his admission into the famed Roman artists guild, Accademia di San Luca. Cardinal Valenti Gonzaga next obtained for him the order for Saint Basil & Emperor Valens (also known as the Mass of St. Basil , which was executed in mosaic for St Peter's. Another masterpiece is his painting of St. Camillo De Lellis coming to the rescue of the diseased at the hospital of the Holy Spirit He was a remarkably incisive portraitist, as evident from the portrait of Pope Benedict XIV or of the obese Cardinal Valenti Gonzaga . The pope himself commanded two great paintings, the "Marriage of St Catherine" and the "Ecstasy of St Camilla", which he placed in his own private apartments. Subleyras shows greater individuality in his curious genre pictures, which he produced in considerable number (Louvre).
Johann Caspar Schneider
Rhine valley by Johann Caspar Schneider in 1820
Maron, Anton von
Austrian, 1733-1808 Austrian painter. He studied at the Vienna Akademie and, in 1755, he went to Rome, where he was based for the rest of his life. From 1756 to 1761 he was first the pupil then the assistant of Anton Raphael Mengs. In 1765 he married Mengs's sister, the miniature painter Theresia Concordia Mengs. After collaborating on Mengs's fresco paintings in Rome (at S Eusebio and the Villa Albani; both in situ), Maron, working independently in Rome, spent some time on altar pictures (S Maria dell'Anima) and on various decorative projects. Mengs's influence is evident in Maron's ceiling pictures in the casino of the Villa Borghese (1784; in situ), where five paintings tell the Story of Aeneas and Dido in the style of quadri riportati, using clear construction, sharply defined drawing and a historical concept based on antiquity. Although he received many commissions for this type of work, Maron's true gifts lay in the field of portraiture. Along with Pompeo Batoni, Maron was the most celebrated portrait painter in 18th-century Rome, and he received an enormous number of commissions from princes, diplomats and church dignitaries and from English aristocrats visiting Rome as part of their Grand Tour. Maron painted such sitters in the same style as did Batoni, usually full-length and life-size, in elegantly fashionable dress, against backgrounds of Classical sculptures and views of Rome. Portraits such as those of Francis, Prince of Anhalt Dessau