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 :. | vil han klare pynten | Fishermen by the Sea on a Summer Evening | Anna Ancher reading | The Sick Girl | Two Fishermen beside a Boat |
Related Artists:
Alfred Bastien
(16 September 1873e7 June 1955) was a Belgian artist, academic and soldier. He attended the Academie Royale des Beaux-Arts in Ghent, where he studied with Jean Delvin. He then enrolled in the Academie Royale des Beaux-Arts in Brussels, where he studied with Jean-François Portaels. He won the Prix Godecharle there in 1897. He traveled to Paris, where he enrolled in the Ecole des Beaux-Arts in Paris. He was in Paris when hostilities broke out in what would become the First World War.
RUYSCH, Rachel
Dutch Baroque Era Painter, 1664-1750 Dutch painter. She specialized in still-lifes of flowers and fruits and still-lifes in outdoor settings, the large majority signed, with dated examples from 1681 to 1747 providing a sound chronology. She is widely regarded as the most gifted woman in the history of the subject and among the greatest exponents of either sex. Ruysch came from a distinguished and wealthy background. Her father, Frederik Ruysch (1638-1731), was an eminent professor of anatomy and botany, who published his fine collection of natural curiosities. He was also a gifted amateur painter. Her mother was the daughter of the architect Pieter Post. At the age of 15 Ruysch became a pupil of Willem van Aelst until his death in 1683. In 1693 she married the portrait painter Juriaen Pool (1665-1745), a happy union that produced ten children. In 1709 the couple moved to The Hague, where both artists joined the Guild of St Luke. From 1708 to 1713 they were both court painters to the Elector Palatine, John William, at D?sseldorf, for whom they continued to work until his death in 1716. In that year they returned to Amsterdam, where Ruysch continued working until at least the age of 83.
Jan van Goyen
Dutch Baroque Era Painter, 1596-1656 Jan van Goyen was born in Leiden on Jan. 13, 1596. Apprenticed from the age of 10, he had several masters. About 1617 he went to Haarlem to study with Esaias van de Velde, an important innovator in the Haarlem movement of realistic landscape painting. Van Goyen's works between 1621 and 1625 are sometimes hard to distinguish from those of his teacher. They are colorful, detailed views of villages and roads, usually busy with people, as in Winter (1621). It was Van Goyen's usual practice to sign or monogram and date his paintings. He traveled extensively through the Netherlands and beyond, recording his impressions in sketchbooks, occasionally with dates and often depicting recognizable scenes. Thus the chronology of his development is clear. His paintings of the late 1620s show a steady advance from the strong colors and scattered organization of his early works toward tonality and greater simplicity and unity of composition. By 1630 he was painting monochromes in golden brown or pale green; he played a leading part in the tonal phase of Dutch landscape painting. In 1631 Van Goyen settled in The Hague, where he became a citizen in 1634. The simplicity, airiness, and unification of his compositions continued to increase in his abundant production of dune landscapes, river views, seascapes, town views, and winter landscapes. The River View (1636) displays a river so open and extensive as to suggest the sea, with reflections that prolong the vast and luminous sky. In its monumentalization of humble structures and its composition built on a firm scaffolding of horizontal and vertical forces, it forecast at this early date developments that dominated landscape painting in the 1650s and later. In the Village and Dunes (1647) the traditional double-diagonal composition still exists, but it is dominated by horizontal and vertical accents. Stronger contrasts of light and dark replace the earlier tonality. In the last year of his life Van Goyen produced an eloquent new style, in which powerful forms stand out against the radiant sky and water in an exquisitely balanced composition (Evening Calm; 1656). The commission in 1651 to paint a panoramic view of The Hague for the Burgomaster's Room shows the high regard in which Van Goyen was held. He was enormously productive; well over 1,000 of his paintings still exist, and almost as many drawings.