Carl Locher was a Danish realist painter who from an early age became a member of the Skagen group of painters. Carl Ludvig Thilson Locher was born in Flensburg in the Duchy of Schleswig, part of Denmark. From an early age he took an interest in ships and received his first training from his father who painted ship portraits for a living. After the father died, he continued his business for a short while and went on several voyages with ships of the Royal Danish Navy. Struck by the grandeur of the Atlantic Ocean, a voyage to the Danish West Indies made a particular impression on him. Before he began his studies at the Royal Danish Academy of Art in 1872, he was encouraged by Holger Drachmann to spend a couple of months in Skagen, the artists colony in the far north of Jutland, he completed paintings of the beach, some with fishing boats or wrecks. He became interested in the horse-drawn carriage which travelled along the beach on its journey from Frederikshavn. In the 1870s, Locher continued his studies in Paris where he trained at the studio of Léon Bonnat 1875-76, 1878-79.
He visited Skagen. He had a house built there where he lived until his death; as an etcher Locher was regarded among the best and most productive of the Danish artists. In 1892, he devoted most of his time to the art of etching, travelled - with support from the Danish state - to Berlin, where he became a student of the excellent copper etching artist professor Hans Meyer at the Berlin University of the Arts. A complete collection of his prints can be found at Skagens Museum. Supported by the State, he opened an etching school for Danish artists in Copenhagen, where he taught until 1900. Skagen painters such as Anna Ancher and Michael Ancher and P. S. Krøyer attended the school. Skagen Painters Olsen, Claus. Krøyer and the artists' colony at Skagen. National Gallery of Ireland. Schmidt Hansen, Peter. Skagensmaleren Carl Locher. Peter Schmidt Hansen. ISBN 978-87-994055-0-3. Svanholm, Lise. Northern Light: The Skagen Painters. Gyldendal A/S. ISBN 978-87-02-02817-1
The Skagen Painters were a group of Scandinavian artists who gathered in the village of Skagen, the northernmost part of Denmark, from the late 1870s until the turn of the century. Skagen was a summer destination whose scenery and quality of light attracted northern artists to paint en plein air, emulating the French Impressionists—though members of the Skagen colony were influenced by Realist movements such as the Barbizon school, they broke away from the rather rigid traditions of the Royal Danish Academy of Fine Arts and the Royal Swedish Academy of Arts, espousing the latest trends that they had learned in Paris. Among the group were Anna and Michael Ancher, Peder Severin Krøyer, Holger Drachmann, Karl Madsen, Laurits Tuxen, Marie Krøyer, Carl Locher, Viggo Johansen and Thorvald Niss from Denmark, Oscar Björck and Johan Krouthén from Sweden, Christian Krohg and Eilif Peterssen from Norway; the group gathered together at the Brøndums Inn. Skagen, in the north of Jutland, was the largest fishing community in Denmark, with more than half of its population so engaged.
Among the locals, fishermen were by far the most common subject for the Skagen painters. Skagen's long beaches were exploited in the group's landscapes. S. Krøyer, one of the best-known of the Skagen painters, was inspired by the light of the evening "Blue hour", which made the water and sky seem to optically merge; this is captured in one of his most famous paintings, Summer Evening at Skagen Beach – The Artist and his Wife. Although the painters had their own individual styles without any requirement to adhere to a common approach or manifest, one of their common interests was to paint scenes of their own social gatherings, playing cards, celebrating or eating together. Michael Ancher drew attention to the attractions of the area when his Will He Round the Point? was purchased by King Christian IX. He married Anna Brøndum, the only member of the group from Skagen, who became a pioneering female artist at a time when women were not permitted to study at Denmark's Royal Academy. Today the Skagens Museum, founded in the dining room at Brøndum's Hotel in October 1908, hosts many of their works of art, some 1,800 pieces in total.
Many of the paintings are accessible online. Related exhibitions continue to be held. C. presented "A World Apart: Anna Ancher and the Skagen Art Colony". The first notable artist to paint in Skagen was Martinus Rørbye, one of the central figures of the Golden Age of Danish Painting, his first visit was in 1833 but he returned towards the end of his life in 1847 and 1848. He is remembered in particular for his Men of Skagen on a Summer Evening in Fair Weather painted in 1848. Another marine painter, Vilhelm Melbye, visited Skagen in 1848. According to Karl Madsen, the painter Peter Raadsig visited the town on several occasions between 1862 and 1870, painting the dunes and the fishermen. Christian Blache, another marine painter, first visited Skagen in 1869 when he painted his Grey Lighthouse, it was as a result of his influence that the poet and dramatist Holger Drachmann first visited the town in 1871. In the 1860s and 1870s, despite evolving trends in Europe in Paris, embracing Realism and Impressionism, the Royal Danish Academy of Fine Arts and the Royal Swedish Academy of Arts refused to change their approach, insisting their students should continue to paint in the preferred styles of Historicism and Neoclassicism.
Among those who were frustrated by this approach were Michael Ancher, Karl Madsen and Viggo Johansen who in the early 1870s were studying at the Royal Danish Academy in Copenhagen. Madsen, who had visited Skagen in 1871 while staying with his uncle in nearby Frederikshavn, invited Ancher to join him there in 1874, to paint the local fishermen, he became a friend of the Brøndum family who had a shop with a bar, soon extended to become Brøndums Gastgiveri, a guest house. He was invited to their 15-year-old daughter Anna's confirmation and showed an immediate interest in her; the following year, he returned to Skagen with both Madsen and Viggo Johansen, influenced by French Impressionism. In particular, Johansen began to paint open-air scenes combining Impressionism with Realism. In 1876 and in 1877, several other artists spent the summer in Skagen, using the Brøndums' house for accommodation and their frequent gatherings. Michael Ancher made Skagen his new home, he became engaged to Anna Brøndum in 1878 and married her in 1880.
Their home became a focal point for the artists after King Christian IX bought Ancher's painting Will He Round the Point?. Anna Ancher first took a serious interest in painting after the artists began to stay in her family's inn, leaving their paintings to dry in their rooms when they left for the day, she studied them and in 1875 attended Vilhelm Kyhn's art school in Copenhagen. She was influenced by Christian Krohg who taught her the art of painting people in their everyday lives and making full use of colour. Krohg first came to Skagen in the summer of 1878, encouraged by Georg Brandes whom he had met in Berlin, he brought many of the latest international art trends with him, influencing the other members of the group. His encounters with the local population exerted a strong influence on his own work. In 1882, the Anchers travelled abroad. While they were in Vienna, they met P. S. Krøyer who informed them he would be going to Skagen that year, despite the fact that Ancher
Anna Ancher was a Danish artist associated with the Skagen Painters, an artists' colony on the northern point of Jutland, Denmark. She is considered to be one of Denmark's greatest visual artists. Anna Kirstine Brøndum was born in Skagen, the daughter of Erik Andersen Brøndum and Ane Hedvig Møller, she was the only one of the Skagen Painters, born and grew up in Skagen, where her father owned the Brøndums Hotel. The artistic talent of Anna Ancher became obvious at an early age, she grew acquainted with pictorial art via the many artists who settled to paint in Skagen, in the north of Jutland. While she studied drawing for three years at the Vilhelm Kyhn College of Painting in Copenhagen, she developed her own style and was a pioneer in observing the interplay of different colors in natural light, she 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.
They had daughter Helga Ancher. Despite pressure from society that married women should devote themselves to household duties, she continued painting after marriage. Anna Ancher was considered to be one of the great Danish pictorial artists by virtue of her abilities as a character painter and colorist, her art found its expression in Nordic art's modern breakthrough towards a more truthful depiction of reality, e.g. in Blue Ane and The Girl in the Kitchen. Ancher preferred to paint interiors and simple themes from the everyday lives of the Skagen people fishermen and children, she was intensely preoccupied with exploring color, as in Interior with Clematis. She created more complex compositions such as A Funeral. Anna Ancher's works represented Danish art abroad. Ancher has been known for portraying similar civilians from the Skagen art colony in her works, including an old blind woman. Anna Ancher has been praised for her painting titled Sørg, which depicts a long blonde haired naked woman on one side of the piece, a funerary cross in the middle, an older pious woman draped in black clothing.
The religious context of the painting could be related to Ancher's own religious upbringing. Her portrayal of the female nude is unique for the time given that this woman is not overtly sexualized and was not created as an object for the male gaze. Scholar Alice R. Price asserts that this piece is a reflection of her position as a woman of faith and the traditional bohemian lifestyle of artists, she exhibited her work at the Palace of Fine Arts at the 1893 World's Columbian Exposition in Chicago, Illinois. She was awarded the Ingenio et Arti medal in 1913 and the Tagea Brandt Rejselegat in 1924. Ancher was included in the 2018 exhibit Women in Paris 1850-1900; the Skagen residence of Anne and Michael Ancher was purchased in 1884. In 1913, a large studio annex was added to the property, this formed part of what is on display today. Upon her death in 1964, the Anchers' daughter, left the house and all of its contents to a foundation; the former residence was opened as a museum and visitor attraction.
In 1967, Michael and Anna Ancher's house in Skagen was converted into a museum by the Helga Ancher Foundation before Anchers Hus opened to the public for tours. Original furniture and paintings created by the Anchers and other Skagen artists are shown in the restored home and studio. Art exhibitions are arranged in the Saxild House, another building on the property, is filled with displays of paintings by Michael and Anna Ancher as well as many other Skagen painters who made up their circle of friends. Anna and Michael Ancher were featured on the front side of the DKK1000 bill, which came into circulation on 25 November 2004 and was subsequently replaced; the front of the banknote had a double portrait of Anna and Michael Ancher, derived from two 1884 paintings by Peder Severin Krøyer, which hung on the walls in the dining room at Brøndums Hotel. I AM ANNA. A Homage to Anna Ancher, Skagens Museum, Denmark, 2009 Anna Ancher, Arken Museum of Modern Art, Copenhagen, 2011 ANNA ANCHER & Co.—The Painting Women, Ribe Kunstmuseum, Denmark, 2007 Anna Ancher—det besjælede rum, Ribe Kunstmuseum, Denmark, 1999 Anna Ancher, 1859–1935, Malerin in Skagen, Niedersächsisches Landesmuseum, Hannover, 1994–1995 Skagen Painters Fabritius, Elisabeth.
Anna Ancher: The Pastels. Forlaget Vandkunsten. ISBN 978-87-7695-077-4. Jensen, Mette Bøgh. I Am Anna: A Homage to Anna Ancher. Skagens Museum. ISBN 978-87-91048-18-0. Wivel, Ole. Anna Ancher 1859-1935. Stokholms Forlag. Brøndums Hotel Danish Skagen Paintings Paintings and drawings by Anna Ancher
Martha Caroline "Tupsy" Clement, née Jebe, was a Norwegian painter, the wife of Danish painter G. F. Clement, her most notable landscapes were painted in Skagen where she spent her summers with her husband from 1908 to 1920. Born in Trondheim, Clement was the daughter of Major Hakon Hedvig Klingenberg, she studied under Hans Heyerdahl in Oslo and under Christoph Roth in Munich before she continued her studies in Paris. She completed her education in Italy in 1905. Tupsy Clement had a broad artistic background before she met the Danish painter G. F. Clement; the couple thereafter settled in Denmark. In addition to portraits, Tupsy painted flowers and landscapes. Among her best paintings were those she completed in Skagen where she spent her summers with her husband every year from 1908 to 1920 in the company of Laurits Tuxen and Viggo Johansen, her painting Two girls playing at Skagen Beach was once owned by King Christian X who spent his summers at Klitgaarden in Skagen. Many of her works show her husband's influence but her depiction of sunlight in her landscapes appears to inspired by Theodor Philipsen.
From 1920, the couple spent most of their summers in Italy. G. F. Clement died in 1933 and Tupsy in 1959. Two of Tupsy Clement's paintings owned by Joan Schersat Mikkelsen Joan Schersat Mikkelsen's article on Ella Heide presents Johannes Wilhjelm's painting Malerinder på Skagen in which Tupsy Clement is shown painting in Skagen
Gad Frederik Clement
Gad Frederik Clement known as G. F. Clement, was a Danish painter. After an early encounter with the French Symbolists, he took an interest in the Italian Renaissance period before turning to the more relaxed style of Naturalism in Skagen and Civita d'Antino. Born in Frederiksberg, he was the son of an accountant. After an apprenticeship as a house painter, he studied art under Hans Grønvold at Copenhagen's Technical School before attending the Royal Danish Academy of Fine Arts where he graduated in 1888, he studied under Laurits Tuxen and Frans Schwartz at Kunstnernes Frie Studieskoler before completing his studies under Kristian Zahrtmann in 1901. In his early years, Clement was influenced by his friend Mogens Ballin who introduced him to modern French Symbolist painting. In 1890, he was introduced to Paul Gauguin and his friends in France, leading him to associate with Johannes Jørgensen, a prominent contributor to the journal Taarnet which promoted Symbolism; the Symbolist style comes out in his Den hellige Frans og de tre hvide jomfruer and in the other works he exhibited at Kunsthal Charlottenborg in 1893.
However, his journeys to Italy from 1890 soon inspired him to take an interest in Italian Renaissance art, prompting him to copy works by Masaccio and Lorenzo di Credi. The clarity and colour of this approach can be seen in his Portræt af en landsbypræst, pastor Vaupell and Fru Bertha Brandstrup. After the turn of the century, Clement moved away from this demanding style, preferring the more relaxed idiom of Naturalism, he began to concentrate on landscapes in Italy where his travels took him to Rome and on several occasions to Civita d'Antino from 1900 to 1904. He became a frequent visitor to the artists' colony in Skagen in the north of Jutland where he and his wife Tupsy were in the company of Laurits Tuxen and Viggo Johansen. From 1920, the couple spent most of their summers in Italy. In addition to landscapes, he painted portraits and figures indoors, his paintings of children reveal a high level of unsentimental understanding of his subjects. In 1902 while in Rome, Clement married the Norwegian painter Tupsy Clement who accompanied him to Skagen each summer from 1908 to 1920 and thereafter to Italy.
His wife survived him after his death in Copenhagen in 1933. One of their daughters, Lillemor Clement, became a well known ceramist in Denmark. Clement was a member of the Academy's board, he received many awards including the gold medal from Munich. Arbejder af Maleren G. F. Clement, Kunstforeningen 1920. List of Clement's works
Hornbæk is a seaside resort town on the north coast of the Danish island of Sjælland, facing the Øresund which separates Denmark from Sweden. It is part of Helsingør Municipality and is located 12 km north-west of Helsingør, is known for its fashionable holiday homes and broad sandy beaches; as of 2015, Hornbæk proper has a population of 3,523 but since 2010 it has grown together with neighbouring Dronningmølle in Gribskov Municipality, forming an urban area with a combined population of 5,225. Hornbæk was a small fishing village around a natural harbour. In 1706, as the first of a number of Danish reforestation initiatives, the Hornbæk Plantage was planted east of the village to prevent entrainment of the sandy soils. In the late 18th century, it was common practice for people from Copenhagen to spend their summers in the countryside north of the city and a number of artists began lodging in Hornbæk, either in the local inns or privately. Among these were Peder Severin Krøyer, Holger Drachmann and Carl Locher before they moved on to Skagen and formed the Skagen colony.
Kristian Zahrtmann, another prominent Danish painter of the time spend time in Hornbæk. An industry of boarding houses and seaside hotels emerged and many summer residents bought land and built houses. August Strindberg and Harriet Bosse visited Hornbæk in 1901 on a dramatic trip, a substitute for their honeymoon which Strindberg called off at the last moment, she went to Hornbæk alone and he followed but they left after he attacked a photographer who wanted to take a picture of Bosse in her bathing costume. When the Hornbæk Railway Line was inaugurated on 22 May 1906, the town was invaded by tourists. Bathing jetties and bathing huts were common along the coast. Landmarks include Hotel Bretagne and Hotel Hornbækhus. Hornbæk is connected to Gilleleje by Hornbæk Railway. Hornbæk station is used as a location at 1:01:32 in the first Olsen Gang film. Henrik B. Andersen a Danish sculptor. Since 2008, he has been a professor at the Vilnius Academy of Art in Lithuania Victor Nelsson a Danish footballer who plays as a centre back for FC Nordsjælland
Hjalmar Eilif Emanuel Peterssen was a Norwegian painter. He is most associated with his landscapes and portraits. Hjalmar Eilif Emanuel Peterssen was born in Christiania, now Oslo, Norway, he was the son of Anne Marie Andersen. He grew up in the neighborhood of Hegdehaugen in the district of Frogner, he attended the Norwegian National Academy of Craft and Art Industry in Christiania from 1866–70. He entered the Johan Fredrik Eckersberg School of Painting in 1869, he trained with Knud Bergslien and Morten Müller in the autumn of 1870. In 1871 he left Oslo to study at the Royal Danish Academy of Fine Arts in Copenhagen; that year he moved to Karlsruhe, where he was a student of Ludwig des Coudres at the Academy of Fine Arts and Wilhelm Riefstahl at Weimar Saxon-Grand Ducal Art School. In the fall of 1873 Peterssen traveled to Munich where he studied under at the Academy of Fine Arts, Munich under Wilhelm von Diez and Franz von Lenbach. In Munich Peterssen met other famous artists such as Karl von Piloty.
Eilif Peterssen made several trips to Italy. In 1896 he went to Arques-la-Bataille in Normandy, where he painted several landscapes, from France he went together with his family to Rome in 1897. In 1903, Peterssen again visited Italy and in Rapallo near Genova, he painted the impressionist motif Winter in the South. During the dissolution of Union between Sweden and Norway in 1905, Peterssen was commissioned to design the new coat of arms of Norway. In his years Peterssen travelled all over Norway to paint landscapes, he made several visits to Skogstad in Valdres, where he was inspired by the great mountain landscape. In 1920–21, he made his last travel abroad to Cagnes-sur-Mer and Saint-Paul-de-Vence in Provence where he painted several landscapes of the small villages on the hills between Nice and Cannes. Peterssen made his breakthrough as a painter in Munich with the history painting Christian II signs the death sentence of Torben Oxe, acquired by the Verbindung für historische Kunst in Stuttgart.
In Munich he painted one of his biggest paintings, the altarpiece The Crucifixion for Johannes Church in Oslo, demolished in 1928. He was to paint nine more altarpieces and a church decoration,The Ascension in Ullern Church in Oslo. Peterssen is famous for his portraits. In Munich he painted some of his best portraits, of artist friends such as Harriet Backer and Hans Heyerdahl and of the German painters Anton Windmaier and Adolf Heinrich Lier, he painted Princess Anna Elisabeth Reuss at Schleiz palace in Gera during 1878. Peterssen was influenced by the brownish palette of the Munich School painters; however Peterssen was soon to adopt the popular En plein air style when he traveled to Italy in 1879. He visited Sora in 1880 together with the Danish painter Peder Severin Krøyer, in this mountain village he painted his great naturalistic work Siesta in an osteria in Sora. A sharp realism is characteristic of his big canvas Piazza Montanara painted in Rome. After the death of his first wife Nicoline in 1882, Peterssen visited Skagen in Denmark together with a group of Danish and Norwegian artist friends, among them P.
S. Krøyer and Anna Ancher, Christian Krohg and Oscar Bjørck in the summer of 1883. At Skagen, Peterssen painted some of his first evocative landscapes, such as Summer Evening at Skagen. In the summer of 1884 Peterssen stayed at Sandø, a small island in the Oslofjord, where he painted several versions of Summer Evening, Sandø; these paintings with a contemplative woman sitting in the foreground would influence the famous Norwegian painter Edvard Munch in his "Melancholy" paintings. During a visit to Venice in 1885 together with the Norwegian painter Frits Thaulow, Peterssen painted some of his most impressionistic paintings, such as Canal Grande and From Riva degli Schiavoni; these paintings are influenced by French painters Manet and Monet. But it was on his return to Norway in 1886 that Peterssen painted his most famous evocative landscapes, Summer Evening and Nocturne. Summer Evening has been shown in many exhibitions abroad, among them the "Northern Light" exhibition in America in 1982–1983.
Peterssen continued to paint portraits of famous Norwegians, among them authors Alexander Kielland, Arne Garborg and Henrik Ibsen, whom he had painted as early as 1875. He made a portrait of the well-known composer Edvard Grieg in 1893. Peterssen made a success at the World Exhibition in Paris in 1889 with Salmon Fishermen at Nesøya, a painting combining the evocative and the naturalistic painting style; this was followed by landscape paintings and motifs of salmon fishermen at Jæren in the southern part of Norway where Peterssen stayed in the summertime in the small village of Sele. During the 1890s Peterssen made several paintings influenced by Impressionism, among them the most important is Sunshine, Kalvøya; this painting made the Swedish art critic Erik Wettergren compare Peterssen with the French Impressionist Berthe Morisot. Another impressionist painting is From Akershus. Inspired by Symbolist and Pre-Raphaelite art, Peterssen painted a series of pictures with motifs from a mediaeval French legend, Gujamar's Song, for the publisher William Nygaard.
He painted another series based on a Norwegian folk song and the Proud Gudbjørg, for the shipping magnate Jørgen Breder Stang. He painted the historical event when King Christian II signs Torben Oxe's death war