In Anna Petersen’s day women were not allowed to vote, nor to enroll at the Academy of Fine Arts. The artist has shown this woman engaged in thought rather than labour, thereby manifesting how women are independent, thinking beings in their own right.
Replanting
The girl looking after plants in a hothouse is not, in fact, looking after anything while she is being painted. This may be because she is modelling, but also because she has an inner life of such strength and fervour that she cannot simply just toil. In the 1880s, painting women with inner lives of their own clearly demonstrates how women are arriving at a new sense of self-worth. They are not simply the property of men, nor are they unthinking creatures ruled by their urges. This woman is her own mistress, and she knows how to cultivate nature. She lives at a time ripe for replanting in order for new flowers to grow — both at a concrete level and metaphorically.
“What we want”
Anna Petersen was a friend of Anna Ancher, Marie Luplau, Emilie Mundt, and Bertha Wegmann. They were not allowed to enroll at the Academy of Arts, nor to vote, but fervently wished for those rights — if not for themselves, then at least for future generations of women. Despite these restrictions, Anna Petersen was quite successful as an artist for a while. In 1899, Marie Luplau wrote a description of Anna Petersen’s paintings in the journal “Hvad vi vil. Organ for Kvindesagen – Fredssagen – Arbejdersagen” (“What We Want. A Journal for The Women’s Cause – The Peace Cause – The Workers’ Cause”), stating that they might seem slightly dry, but that the artist excelled at working with “the Atmosphere of the scene”. Despite the support of her friends, whose numbers included the highly influential J.F. Willumsen, Anna Petersen sold no works to museums while she lived, and she suffered from a growing “nervous restlessness” that gradually robbed her of the ability to work.
(Text courtesy of the National Gallery of Denmark; Image CC BY 3.0).
Product Information
Expect crisp detail and vivid color from our giclée process fine art prints. We use archival pigment inks on cotton fiber paper to achieve a wide color gamut, deep blacks and beautiful tonal transitions. Unlike posters, they will not fade or yellow, but maintain their original quality for as long as you own them.
How to Frame
Historical artworks were produced in whatever shapes and sizes best suited the artists and their patrons, and these rarely correspond to the proportions of modern, mass-produced frames. Most reproductions sold on the web are cropped to an arbitrary standard, compromising the integrity of the original artwork. We solve this by using accent borders to make up any differences in proportion.Framing may be as simple as inserting the print into a standard size frame with the borders showing. In many cases, our customers choose to have them matted. Borders allow space for framers to mount the print while covering little, if any, of the artwork. Our images are sized to provide desirable mat widths in common frames.Sizes 9” x 12”, 12” x 16”, and 16” x 20” are designed to be matted in larger frames, such as 11” x 14”, 16” x 20” and 20” x 24”, respectively. Larger prints may be matted in frames of equal size, the borders corresponding to the shape of the mat. Where the artwork is unusually square or narrow, other sizes may be preferred.If our sizing does not meet your requirements, we provide customization free of charge. Please contact us to discuss the details.
Shipping and Returns
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Returns Policy
If you are unhappy with your order for any reason, you are welcome to return it within 60 days for a full refund. Please contact us and return your item(s) to:
The Ibis
809 Grant Street
Endicott, NY 13760
Your return will be processed on receipt.