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 :. | fiskere i faerd med at saette en rorsbad i vandet | Fishermen by the Sea on a Summer Evening | i kobmandens bod en vinterdag, nar der ikke fiskes | portraet af gamle fru brondum | fiskere trakker vod ved skagen |
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Ecce Homo
are the Latin words used by Pontius Pilate in the Vulgate translation of the John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. The King James Version translates the phrase into English as Behold the Man. The scene is widely depicted in Christian art. The Ecce homo is a standard component of cycles illustrating the Passion and Life of Christ in art. It follows the Flagellation of Christ, the Crowning with thorns and the Mocking of Christ, the last two often being combined. The usual depiction shows Pilate and Christ, the mocking crowd and parts of the city of Jerusalem. But, from the 15th century, devotional pictures began to portray Jesus alone, in half or full figure with a purple robe, loincloth, crown of thorns and torture wounds, especially on his head. Similar subjects but with the wounds of the crucifixion visible (Nail wounds on the limbs, spear wounds on the sides), are termed a Man of Sorrow(s) (also Misericordia). If the "Instruments of the Passion" are present, it may be called an Arma Christi. If Christ is sitting down (usually supporting himself with his hand on his thigh), it may be referred to it as Christ at rest or Pensive Christ. It is not always possible to distinguish these subjects.
John Maler Collier
(27 January 1850 - 11 April 1934), called 'Jack' by his family and friends, was a leading English artist, and an author. He painted in the Pre-Raphaelite style, and was one of the most prominent portrait painters of his generation. Both his marriages were to daughters of Thomas Henry Huxley. He studied painting at the Munich Academy where he enrolled on 14 April 1875 (Register: 3145) at the age of 25. Collier was from a talented and successful family. His grandfather, John Collier, was a Quaker merchant who became a Member of Parliament. His father (who was a Member of Parliament, Attorney General and, for many years, a full-time judge of the Privy Council) was created the first Lord Monkswell. He was also a member of the Royal Society of British Artists. John Collier's elder brother, the second Lord Monkswell, was Under-Secretary of State for War and Chairman of the London County Council. Collier's first wife, Marian Huxley, 1883In due course, Collier became an integral part of the family of Thomas Henry Huxley PC, sometime President of the Royal Society. Collier married two of Huxley's daughters and was "on terms of intimate friendship" with his son, the writer Leonard Huxley. Collier's first wife, in 1879, was Marian (Mady) Huxley. She was a painter who studied, like her husband, at the Slade and exhibited at the Royal Academy and elsewhere. After the birth of their only child, a daughter, she suffered severe post-natal depression and was taken to Paris for treatment where, however, she contracted pneumonia and died in 1887. In 1889 Collier married Mady's younger sister Ethel Huxley. Until the Deceased Wife's Sister's Marriage Act 1907 such a marriage was not possible in England, so the ceremony took place in Norway. Collier's daughter by his first marriage, Joyce, was a portrait miniaturist, and a member of the Royal Society of Miniature Painters. By his second wife he had a daughter and a son, Sir Laurence Collier KCMG, who was the British Ambassador to Norway 1941-51.
kulturen
ivar johnssons byst av georg karlin, karv i uppsyn som originalet., bares upp au en tung granitplatta med orden forntid framtid. det var det motto karlin helt i nutidsanda satt for sitt museum samlingarna sklle lara om det forgangna inspirera till det kommande.