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Her artistic training began during the 1890s. She studied in [[Bremen]] with Kunz Meyer und [[:de:Gottfried Hofer|Gottfried Hofer]].<ref name=APlautJD>{{cite article |title=Anna Plate (26. August 1871 Bremen – 23. Juli 1941 Löbichau) |url= |publisher=Joergen Degenaar i.A. Galerie Der Panther, Freising |accessdate=}}</ref> There followed a couple of years in [[Munich]] where she was taught by [[Ludwig Schmid-Reutte]]. In 1897 she moved on again, this time to [[Paris]] where she enrolled at the [[Académie Colarossi|independent academy]] run by the sculptor [[Filippo Colarossi]]. The focus of her study in Paris involved the systematic copying of works by three leading masters of [[Impressionism|impressionism]], [[Gustave Courbet|Courbet]], [[Édouard Manet|Manet]] and [[Pierre-Auguste Renoir|Renoir]].<ref>Hannelore Cyrus: Zwischen Tradition und Moderne. Künstlerinnen und die bildende Kunst in Bremen bis Mitte des 20. Jahrhunderts, Hauschild Verlag, Bremen 2005, ISBN 3-89757-262-1, p. 59</ref> Critics of the period identified clear marks of their influence in Plate's subsequent works. During the years that followed she would undertake further study trips to France.<ref name=APlautGHmUvHB/>
Her artistic training began during the 1890s. She studied in [[Bremen]] with Kunz Meyer und [[:de:Gottfried Hofer|Gottfried Hofer]].<ref name=APlautJD>{{cite article |title=Anna Plate (26. August 1871 Bremen – 23. Juli 1941 Löbichau) |url= |publisher=Joergen Degenaar i.A. Galerie Der Panther, Freising |accessdate=}}</ref> There followed a couple of years in [[Munich]] where she was taught by [[Ludwig Schmid-Reutte]]. In 1897 she moved on again, this time to [[Paris]] where she enrolled at the [[Académie Colarossi|independent academy]] run by the sculptor [[Filippo Colarossi]]. The focus of her study in Paris involved the systematic copying of works by three leading masters of [[Impressionism|impressionism]], [[Gustave Courbet|Courbet]], [[Édouard Manet|Manet]] and [[Pierre-Auguste Renoir|Renoir]].<ref>Hannelore Cyrus: Zwischen Tradition und Moderne. Künstlerinnen und die bildende Kunst in Bremen bis Mitte des 20. Jahrhunderts, Hauschild Verlag, Bremen 2005, ISBN 3-89757-262-1, p. 59</ref> Critics of the period identified clear marks of their influence in Plate's subsequent works. During the years that followed she would undertake further study trips to France.<ref name=APlautGHmUvHB/>


In 1919 Plate became a member of the "Bremer Malerinnen Verein" (''"Bremen women artists' association"'').<ref name=MalFralautWim>{{cite web|title=Malende Frauen in den Blick gerückt |work=Lilienthal. Die Kunststiftung von Monika und Hans Adolf Cordes verlängert die Ausstellung "Im Strom der Zeit" bis zum 13. Oktober, um die Malerinnen in den Blick zu rücken. Die breit angelegte Bilderschau in der Truper Kunstschau verschafft Besuchern Einblicke in die Kunst der vergangenen 125 Jahre in Worpswede, Fischerhude, Lilienthal und Bremen. Jetzt richten Monika und Hans Adolf Cordes den Fokus auf die Malerinnen. |author=Wim |publisher=Bremer Tageszeitungen AG (Weser Kurier)|url=https://www.weser-kurier.de/region/malende-frauen-in-den-blick-gerueckt-doc7e3lwgpgoqdqm44pp44 |accessdate=16 June 2021}}</ref> After this was dissolved she became a member of the pan-German [[:de:GEDOK |"Gemeinschaft Deutscher und Oesterreichischer Künstlerinnenvereine aller Kunstgattungen" (''"Association of German and Austrian Women Artists for all types of art"'')]] which had been set up from [[Hamburg]] by [[Ida Dehmel]].<ref name=APlautGHmUvHB/>
In 1919 Plate became a member of the "Bremer Malerinnen Verein" (''"Bremen women artists' association"'').<ref name=MalFralautWim>{{cite web|title=Malende Frauen in den Blick gerückt |work=Lilienthal. Die Kunststiftung von Monika und Hans Adolf Cordes verlängert die Ausstellung "Im Strom der Zeit" bis zum 13. Oktober, um die Malerinnen in den Blick zu rücken. Die breit angelegte Bilderschau in der Truper Kunstschau verschafft Besuchern Einblicke in die Kunst der vergangenen 125 Jahre in Worpswede, Fischerhude, Lilienthal und Bremen. Jetzt richten Monika und Hans Adolf Cordes den Fokus auf die Malerinnen. |author=Wim |publisher=Bremer Tageszeitungen AG (Weser Kurier)|url=https://www.weser-kurier.de/region/malende-frauen-in-den-blick-gerueckt-doc7e3lwgpgoqdqm44pp44 |accessdate=16 June 2021}}</ref> (The "Künstlerverein" - ''"Artists Association"'' - sety up in [[Bremen]] in 1856 would remain a "men only" association till 1928.<ref name=HanMalinenum1900>{{cite web |url= https://www.kunststiftung-lilienthal.de/ausstellungsarchiv/hanseatische-malerinnen/ |title= Hanseatische Malerinnen um 1900 – Wie sie die Welt sahen |work=Ausstellungsarchiv |publisher=Lilienthaler Kunststiftung Monika und Hans Adolf Cordes |accessdate=16 June 2021}}</ref>) After the "Bremer Malerinnen Verein" was dissolved she became a member of the pan-German [[:de:GEDOK |"Gemeinschaft Deutscher und Oesterreichischer Künstlerinnenvereine aller Kunstgattungen" (''"Association of German and Austrian Women Artists for all types of art"'')]] which had been set up from [[Hamburg]] by [[Ida Dehmel]].<ref name= APlautGHmUvHB/><ref name= HanMalinenum1900/>


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Revision as of 14:25, 16 June 2021

Anna Plate (26 August 1871 - 23 July 1941) was a German painter. She was a prolific creator of still lifes, watercolor flower paintings, street scenes and portraits.[1]

Biography

Anna Plate was born in Bremen. Her father was a judge.[1]

Her artistic training began during the 1890s. She studied in Bremen with Kunz Meyer und Gottfried Hofer.[2] There followed a couple of years in Munich where she was taught by Ludwig Schmid-Reutte. In 1897 she moved on again, this time to Paris where she enrolled at the independent academy run by the sculptor Filippo Colarossi. The focus of her study in Paris involved the systematic copying of works by three leading masters of impressionism, Courbet, Manet and Renoir.[3] Critics of the period identified clear marks of their influence in Plate's subsequent works. During the years that followed she would undertake further study trips to France.[1]

In 1919 Plate became a member of the "Bremer Malerinnen Verein" ("Bremen women artists' association").[4] (The "Künstlerverein" - "Artists Association" - sety up in Bremen in 1856 would remain a "men only" association till 1928.[5]) After the "Bremer Malerinnen Verein" was dissolved she became a member of the pan-German "Gemeinschaft Deutscher und Oesterreichischer Künstlerinnenvereine aller Kunstgattungen" ("Association of German and Austrian Women Artists for all types of art") which had been set up from Hamburg by Ida Dehmel.[1][5]

References

  1. ^ a b c d Gisela Hildebrand. "Plate, Anna (1871 – 1941): 26.8.1871 in Bremen – 23.7.1941 in Löbichau bei Dresden". Bremer Frauenmuseum e.V. Retrieved 16 June 2021.
  2. ^ Template:Cite article
  3. ^ Hannelore Cyrus: Zwischen Tradition und Moderne. Künstlerinnen und die bildende Kunst in Bremen bis Mitte des 20. Jahrhunderts, Hauschild Verlag, Bremen 2005, ISBN 3-89757-262-1, p. 59
  4. ^ Wim. "Malende Frauen in den Blick gerückt". Lilienthal. Die Kunststiftung von Monika und Hans Adolf Cordes verlängert die Ausstellung "Im Strom der Zeit" bis zum 13. Oktober, um die Malerinnen in den Blick zu rücken. Die breit angelegte Bilderschau in der Truper Kunstschau verschafft Besuchern Einblicke in die Kunst der vergangenen 125 Jahre in Worpswede, Fischerhude, Lilienthal und Bremen. Jetzt richten Monika und Hans Adolf Cordes den Fokus auf die Malerinnen. Bremer Tageszeitungen AG (Weser Kurier). Retrieved 16 June 2021.
  5. ^ a b "Hanseatische Malerinnen um 1900 – Wie sie die Welt sahen". Ausstellungsarchiv. Lilienthaler Kunststiftung Monika und Hans Adolf Cordes. Retrieved 16 June 2021.
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