Editing Anna Ancher (section)

=== Style ===
Ancher preferred to paint interiors and simple themes from the everyday lives of the Skagen people, especially fishermen, women, and children. She was intensely preoccupied with exploring light and color, as in ''Interior with Clematis'' (1913). She also created more complex compositions such as ''A Funeral'' (1891). Anna Ancher's works often represented Danish art abroad. Ancher has been known for portraying similar civilians from the Skagen art colony in her works, including an old blind woman.<ref>{{Cite web|url=https://hirschsprung.dk/en/collection/theme/samling-skagensmalerne|title=The Skagen Painters - Den Hirschsprungske Samling|website=hirschsprung.dk|access-date=2019-03-02}}</ref>

Anna Ancher has been praised for her painting entitled, ''Sørg'' (1902), which depicts a blonde long-haired, naked woman on one side of the work, a funerary cross in the middle, and an older pious woman draped in black clothing. The religious context of the painting could be related to Ancher's own religious upbringing. Her portrayal of the female nude is unique for the time, given that this woman is not overtly sexualized and created solely as an object for the male gaze, as was typical among contemporary paintings of female nudes. Scholar Alice R. Price asserts that this painting is a reflection of Ancher's position as a woman of faith living in the traditional bohemian lifestyle of artists, that Price interprets as indicative of an ongoing inner conflict for the artist.<ref>{{Cite journal|last=Price|first=Alice Rudy|date=2016-06-22|title=Loss, the Female Nude, and Anna Ancher's Sorg: A Woman's Own Modernism|url=https://www.questia.com/library/journal/1G1-467681151/loss-the-female-nude-and-anna-ancher-s-sorg-a-woman-s|journal=Scandinavian Studies|volume=88|issue=2|pages=97–128|issn=0036-5637|jstor=10.5406/scanstud.88.2.0097 }}</ref>