{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://api.smk.dk/api/v1/iiif/manifest?id=KMS1433","type":"Manifest","label":{"da":["En begravelse"]},"rights":"https://creativecommons.org/publicdomain/mark/1.0/","requiredStatement":{"label":{"en":["Attribution"],"da":["Kreditering"]},"value":{"en":["Shared by SMK – the national gallery of Denmark"],"da":["SMK – Statens Museum for Kunst"]}},"provider":[{"id":"https://www.smk.dk","type":"Agent","label":{"en":["SMK – the national gallery of Denmark"],"da":["SMK – Statens Museum for Kunst"]},"logo":[{"id":"https://iip.smk.dk/iiif/jp2/smk_logo.jp2/full/!400,400/0/default.jpg","type":"Image","format":"image/jpeg"}]}],"metadata":[{"label":{"en":["Title"]},"value":{"none":["En begravelse"]}},{"label":{"en":["Object number"]},"value":{"none":["KMS1433"]}},{"label":{"en":["Acquisition date"]},"value":{"none":["1891-12-31"]}},{"label":{"en":["Creator"]},"value":{"none":["Ancher, Anna"]}},{"label":{"en":["Creator B."]},"value":{"none":["1859-08-18T00:00:00.000Z"]}},{"label":{"en":["Creator D."]},"value":{"none":["1935-04-15T00:00:00.000Z"]}},{"label":{"en":["Production start date"]},"value":{"none":["1891-01-01T00:00:00.000Z"]}},{"label":{"en":["Production end date"]},"value":{"none":["1891-12-31T00:00:00.000Z"]}},{"label":{"en":["Type"]},"value":{"none":["Maleri"]}},{"label":{"en":["Technique"]},"value":{"none":["Olie på lærred"]}},{"label":{"en":["Materials"]},"value":{"none":["Lærred"]}},{"label":{"en":["Production dates notes"]},"value":{"none":["Værkdatering: 1891"]}},{"label":{"en":["Dimensions"]},"value":{"none":["{\"part\":\"Netto\",\"type\":\"højde\",\"value\":\"103.5\",\"unit\":\"centimeter\"}","{\"part\":\"Netto\",\"type\":\"bredde\",\"value\":\"124.5\",\"unit\":\"centimeter\"}","{\"part\":\"Brutto\",\"type\":\"højde\",\"value\":\"120.8\",\"unit\":\"centimeter\"}","{\"part\":\"Brutto\",\"type\":\"bredde\",\"value\":\"142.8\",\"unit\":\"centimeter\"}","{\"part\":\"Brutto\",\"type\":\"dybde\",\"value\":\"9.5\",\"unit\":\"centimeter\"}"]}},{"label":{"en":["Number of parts"]},"value":{"none":["1"]}},{"label":{"en":["Notes"]},"value":{"none":["Karl Madsens manuskript til katalog over Galleriets danske afdeling i Det kgl. biblioteks ny kgl. samling, 3577,40"]}},{"label":{"en":["Current location"]},"value":{"none":["Sal 224"]}},{"label":{"en":["Labels"]},"value":{"none":["Anna Anchers første udstillingsbillede forestillede to fattige originaler, Per og Stine Bollerhus. Flere år senere deltog hun i Stines begravelse og samlede sine indtryk i maleriet EN BEGRAVELSE. Som i de fleste af Anna Anchers billeder er der ingen, der forsøger at skabe øjenkontakt. Man kan derfor ubemærket finde sin plads og lade sig absorbere af den meditative ro. Stuen er fyldt med lys, der giver Ancher mulighed for at demonstrere sit koloristiske mesterskab i mødet mellem de blålige, rosa og grønne farver. Sammen med Theodor Philipsen betragtes Anna Ancher som den betydeligste impressionistiske maler i dansk kunst. Men i modsætning til de franske impressionister maler hun sine billeder fra periferien af det moderne liv: fra Skagen, Danmarks udkant, og snarere mod end med det hektiske, flygtige og øjebliks¬betonede.","Anna Ancher’s first exhibited painting showed two poor eccentrics, Per and Stine Bollerhus. Several years later she took part in Stine’s funeral and conveyed her impressions in A FUNERAL. As in most of Anna Ancher’s paintings, no-one seeks to establish eye contact. You can slip in unnoticed, becoming absorbed in the meditative calm. The room is filled with light, allowing Ancher to demonstrate her mastery of colour in the meeting between blues, pinks, and greens. Alongside Theodor Philipsen, Anna Ancher is regarded as the pre-eminent Danish Impressionist. In contrast to French Impressionists her images come from the margins of modern life: From Skagen, the remotest part of Denmark. She paints against – rather than with – all things hectic, fleeting, and ephemeral.","Anna Ancher betragtes som en af de betydeligste impressionistiske malere i dansk kunst. Hun maler sine billeder fra periferien af det moderne og undgår for det meste øjenkontakt, så vi som beskuere ubemærket kan afsøge rummet og lade os opsluge af det psykologiske rum. Anna Anchers første udstillingsbillede forestillede to fattige originaler, Per og Stine Bollerhus, på vej hjem fra Skagen Kirke. Flere år senere deltog hun i Stines begravelse og samlede sine indtryk i maleriet En begravelse, et hovedværk i hendes produktion.Maleriets motivSom i de fleste af Anna Anchers billeder er der ingen, som forsøger at skabe øjenkontakt. Man kan derfor ubemærket afsøge rummet, finde sin plads, og lade sig absorbere af den meditative ro. Den lavloftede stue er fyldt med lys, der giver Ancher mulighed for at demonstrere sit koloristiske mesterskab i mødet mellem de blålige, rosa og grønne farver, men som også symbolsk viser den gamle kone vej til en anden verden. Mellem realisme og symbolismeSom i mange samtidige værker udført på overgangen mellem realisme og symbolisme er henvisningen til en oversanselig eksistens ikke postuleret, men forbliver så virkelighedsnær, at den primært opleves som en psykologisk fortætning.En impressionistisk malerSammen med Theodor Philipsen (1840-1920) betragtes Anna Ancher som den betydeligste impressionistiske maler i dansk kunst. Men i modsætning til de franske impressionisters forbundethed med det moderne liv maler Ancher sine billeder fra periferien af det moderne: fra Skagen, Danmarks udkant, snarere mod end med det hektiske, flygtige og øjebliksbetonede.","Anna Ancher is regarded as one of the pre-eminent Impressionist painters within Danish art. She paints her works from the outskirts of modernity and tends to avoid eye contact; that way, spectators can explore the spaces created without feeling unobserved, becoming enveloped by the psychological and mental moods evoked in the work. Anna Ancher’s first exhibited work depicted two poor colourful characters, Per and Stine Bollerhus, going home from the church in Skagen. Several years later she attended Stine’s funeral and gathered her impressions in the painting A Funeral.The painting's motifAs in most of Anna Ancher’s pictures, no-one attempts to create eye contact. We are free to investigate the space unnoticed, find our place, and let ourselves be absorbed by the meditative calm. The low-ceilinged room is filled with light, allowing Anna Ancher an opportunity to demonstrate her mastery of colour in the meeting between the blue, pink, and green hues; colours that also serve a symbolic function in showing the old woman the road to another world. The transition between realism and symbolismAs in many other works from the time, created during a period of transition between realism and symbolism, the reference to a transcendental existence is not a postulate; it remains so much in touch with reality that it is primarily seen as a psychological condensation. An impressionistic painterAlong with Theodor Philipsen (1840-1920), Anna Ancher is regarded as the most important Impressionistic painter on the Danish art scene. But whereas the French Impressionists were intimately linked with modern life, Anna Ancher painted her paintings on the outskirts of the modern: from Skagen, the remotest part of Denmark, more opposed to than in tune with the hectic and the ephemeral."]}},{"label":{"en":["Exhibitions"]},"value":{"none":["Den danske Kunstudstilling","Jylland i dansk malerkunst","100 Mesterværker","Zolotoj vek datskoj zivopisi","Charlottenborg 1891","Nordic Highlights","Luz del norte","Luz del norte","Luz del norte","Luz del norte","Clinch!","Verdensudstillingen i Paris","Fra Hans Schmidt til Johannes Larsen","Becoming Edvard Munch: Influence, Anxiety, and Myth","Anna Ancher","Anna Ancher","Anna Ancher","Anna Ancher","Anna Ancher","Dreams of a summer night: Scandinavian painting at the turn of the century","L'Arte delle Donne dal Rinascimento al Surrealismo","Charlottenborgs Forårsudstilling 1957"]}},{"label":{"en":["Department"]},"value":{"none":["Den Kongelige Maleri- og Skulptursamling"]}},{"label":{"en":["Public domain"]},"value":{"none":["true"]}},{"label":{"en":["Latest internal modification"]},"value":{"none":["2026-09-21T09:35:23Z"]}},{"label":{"en":["Internal ID"]},"value":{"none":["1170090603_object"]}}],"thumbnail":[{"id":"https://iip-thumb.smk.dk/iiif/jp2/5712mc657_kms1433.tif.jp2/full/!1024,/0/default.jpg","type":"Image","format":"image/jpeg","service":[{"id":"https://iip.smk.dk/iiif/jp2/5712mc657_kms1433.tif.jp2","type":"ImageService2","profile":"level1"}]}],"items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/0","type":"Canvas","label":{"none":["KMS1433"]},"height":10388,"width":12592,"items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/0/page","type":"AnnotationPage","items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/0/annotation","type":"Annotation","motivation":"painting","body":{"id":"https://iip-thumb.smk.dk/iiif/jp2/5712mc657_kms1433.tif.jp2/full/!1024,/0/default.jpg","type":"Image","format":"image/jpeg","height":10388,"width":12592,"service":[{"id":"https://iip.smk.dk/iiif/jp2/5712mc657_kms1433.tif.jp2","type":"ImageService2","profile":"level0"}]},"target":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/0"}]}],"annotations":[{"id":"https://api.smk.dk/api/v1/iiif/annotations?canvas=https%3A%2F%2Fapi.smk.dk%2Fapi%2Fv1%2Fiiif%2Fcanvas%2FKMS1433%2F0","type":"AnnotationPage"}]},{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/1","type":"Canvas","label":{"none":["KMS1433"]},"height":6062,"width":8124,"items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/1/page","type":"AnnotationPage","items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/1/annotation","type":"Annotation","motivation":"painting","body":{"id":"https://iip-thumb.smk.dk/iiif/jp2/s7526h60n_KMS1433-framed.tif.jp2/full/!1024,/0/default.jpg","type":"Image","format":"image/jpeg","height":6062,"width":8124,"service":[{"id":"https://iip.smk.dk/iiif/jp2/s7526h60n_KMS1433-framed.tif.jp2","type":"ImageService2","profile":"level0"}]},"target":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/1"}]}],"annotations":[{"id":"https://api.smk.dk/api/v1/iiif/annotations?canvas=https%3A%2F%2Fapi.smk.dk%2Fapi%2Fv1%2Fiiif%2Fcanvas%2FKMS1433%2F1","type":"AnnotationPage"}]},{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/2","type":"Canvas","label":{"none":["KMS1433"]},"height":3893,"width":4724,"items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/2/page","type":"AnnotationPage","items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/2/annotation","type":"Annotation","motivation":"painting","body":{"id":"https://iip-thumb.smk.dk/iiif/jp2/n296x331t_kms1433.tif.jp2/full/!1024,/0/default.jpg","type":"Image","format":"image/jpeg","height":3893,"width":4724,"service":[{"id":"https://iip.smk.dk/iiif/jp2/n296x331t_kms1433.tif.jp2","type":"ImageService2","profile":"level0"}]},"target":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/2"}]}],"annotations":[{"id":"https://api.smk.dk/api/v1/iiif/annotations?canvas=https%3A%2F%2Fapi.smk.dk%2Fapi%2Fv1%2Fiiif%2Fcanvas%2FKMS1433%2F2","type":"AnnotationPage"}]},{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/3","type":"Canvas","label":{"none":["KMS1433"]},"height":10056,"width":12231,"items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/3/page","type":"AnnotationPage","items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/3/annotation","type":"Annotation","motivation":"painting","body":{"id":"https://iip-thumb.smk.dk/iiif/jp2/hd76s469m_kms1433_farvestyret_102019_crop.tif.jp2/full/!1024,/0/default.jpg","type":"Image","format":"image/jpeg","height":10056,"width":12231,"service":[{"id":"https://iip.smk.dk/iiif/jp2/hd76s469m_kms1433_farvestyret_102019_crop.tif.jp2","type":"ImageService2","profile":"level0"}]},"target":"https://api.smk.dk/api/v1/iiif/canvas/KMS1433/3"}]}],"annotations":[{"id":"https://api.smk.dk/api/v1/iiif/annotations?canvas=https%3A%2F%2Fapi.smk.dk%2Fapi%2Fv1%2Fiiif%2Fcanvas%2FKMS1433%2F3","type":"AnnotationPage"}]}]}