Anna Ancher demonstrated from his earliest youth a strong and unique artistic talent. She had it for women of her generation rare luck to be invited to develop his comic pleasure, not only of his family, but also by its ten year older PAL and later spouse. In addition to elementary education with Vilh. Kyhn she got any guidance of Michael Ancher and other Skagen painters, but was not really receptive to training. A series of dark småbilleder from the 1870s with a few old skagboer are already showing her special ability for the characterful, like humorous human portrayal. With, among other things. CHR. Krohg's, such as Thaulows and Karl M summer stay at Skagen 1879 was the new French-inspired ideas about realism in painting/naturalisme launched at home. The simple version of reality was good for Ancher, who immediately upon its debut 1880 exhibited the realistic Lars Gaihede pulp a stick, which attracted positive attention. Ancher now actively contributed to the modern gennnembrud on an equal footing with Danish and Scandinavian artists who visited Skagen the following summers. In mutual inspiration explored the color options in nature's dazzling sommerlys and created a new art, liberated from a literary or philosophical content. Even before the age of 25 was Ancher finished formed as an artist. Her talent for the immediate natural version came fully to the fore in the Girl in the kitchen 1883, which at the same time testifies to the strong impression of Dutch 1600-century-art, she received on her first trip abroad to Vienna 1882, especially from Vermeer van Delft and Pieter de Hooch. Persistent inspiration she downloaded the direct visual experience, as such. as. the Sun over a wall or through the trees, varmedisen in a corn field, a child in lens on the Heath, and she found at the fishing population and in Skagen natural picturesque topics enough for a lifetime. As a typical exponent of 1880ernes art perception is that with Ancher nothing substantially divide between sketches and finished works, like she only rarely showed interest in great shape-rich motifs. Anchors drawings and especially the numerous surviving oil sketches, which only gradually become known after her death, shows how she constantly revolved around the same motifs, dune and heathland, with or without people, plants and flower bouquets. Just as often, it was life in the small fishermen's cottages, who recorded her: mother and child, a family at table prayer, the working, the old, death. Human relations referenced creditors resolved, but she did so with a sensitivity of unusual strength. Her intuitive way of working can f. as. be seen in variations of the motif with the blind wife in his light-filled living room from the 1880s. A winter's stay in Paris 1889 changed nothing decisive in her art. However, a greater safety observed in the Sunshine in the blue room 1891. At the same time, she now took hold of major works, a funeral (prepared through several variants and as her first work sold at the present Statens Museum for Kunst), Vaccination 1899 and A missionary meeting 1903, which she traditionally processing performed exceptionally by individual listening to women, in addition to a pastel in full size. A special position in her production occupies the numerous drew and painted portraits of his mother, from about 1890 to her death in 1916, a tribute to both the person and for retirement. Ancher was, first and foremost, colorist, constantly preoccupied with the color diversity in Skagen's sharp light, where her work also experienced best. In oil sketches, which is sometimes simplified to the mere color notes, she could with an astonishing boldness and strength of its time reproduce URf.eks. a violet Road between rosa houses, or its Green-gray farverigdom. With pastel chalk she achieved even greater intensity and could give even featureless pencil drawings lysfylde. Motifs as such. as. the rygvendte young woman by the window in the home's North Lounge and the syende woman seen in profile based on a sunny wall, she resumed again and again with decades of space, making the dating of her work. In the latter she is approaching abstraction, but without ever being non-figurative. Of his contemporaries comrades, also his spouse was Ancher treated on an equal footing and was highly regarded for his artistic abilities. She was also quickly recognized and was perhaps therefore not particularly ambitious, albeit industrious as an exhibitor. Ancher is now considered one of the best of his generation and has often represented Danish art abroad.