A report of the visit to the above event, and a review of painter, Albert Anker, (1831-1910 ).
Born in Anet in the Canton of Bern, he and his family moved to Neuchâtel, when he was five, where his father worked as a veterinarian. His father, and his uncle, who financed his studies, pushed him into studying theology at the University of Berne, and of Halle, in Germany, with the intention of Albert becoming a Lutheran clergyman. However, this was not what Albert wanted to be; he took himself off to Paris at the age of 23, abandoning his theological studies, to immerse himself in developing his artistic skills. It took thirty years for him to be recognised, as a major international artist.
Anker’s catalogue consists of 796 oil, water paintings, and drawings. Of these, 500 are devoted to the subject of children, either individually, collectively, at play, study, or in thoughtful repose. He and his wife Anna Ruefli had six children, of whom, some if not all, feature in his portfolio. He seems to capture the essence of innocent childhood, whether it is in a schoolhouse scene, the class listening intently to the teacher, children constructing elaborate play blocks, or the young boy asleep on an old man’s knee, he is looking down, ponders what will be the future course of life of this youngster.
Which paintings were BRA members’ favourites ?- The quack doctor, dispensing a potion to a sick child, comforted by his mother; the winter scene with children building a snowman: (why weren’t the children wearing gloves one of our party observed?); the poignant painting of the auction of linen after a death in the family: the burial of a child in a church cemetery.
The two largest paintings in the Exhibition were children picking spring flowers as they walked down a Swiss country lane with their teacher; and a festival scene, with a Maypole, dancers, and of course, children, faces enraptured by the happiness and frivolity portrayed. They have a day off from school, and the delight shows on their faces.
Noted by one of our group were Anker’s representations of what mid nineteenth century Swiss country people wore; such elaborate waistcoats, jackets, and such a variety of hats of all shapes, patterns, and colours; probably “Sunday best“.
Afterwards, out into the Gianadda sculpture park; the lawns had not been cut, and so many Spring wildflowers to enjoy that looked very familiar. We had just seen many of them portrayed in Anker’s country scenes. An example of the observation of art superimposing itself on everyday experience, or is it the other way around?
Andrew Konecki