Singer-songwriter and author Endo Anaconda meets Albert Anker where the artist comes closer than anywhere else – in the painter’s studio in the village Ins, one of the very few artist’s studios from the 19th century that have been preserved in their original condition. In this space-become-encyclopedia with countless “exhibits” from floor to ceiling, it is possible to explore right down to the farthest corners what Anker loved, admired, what he longed for, what transience and death brought to mind and what he wanted to have before his eyes at all times.
In “Albert Anker. Malstunden bei Raffael” Endo Anaconda ventures into Anker’s house for a radically subjective, knowledgeable and humorous examination of Albert Anker (1831 – 1910), which also clears up clichés and hasty appropriations. And Endo is not alone: the pianist Oliver Schnyder plays the soundtrack to the film and, in the salon of the Anker family, live on the house piano to “comics” that the painter drew for his daughter Louise. Further in the film: Albert Anker as a puppeteer. – The artist’s carnets, as unknown as they are spectacular, which lead as far as Key West and Cuba and contain, in wild confusion, everything that Anker never wanted to forget. – Son Maurice disturbs the order and travels the oceans. – Can Albert Anker be understood without Impressionism? No.
Italian travels: What a life, what carelessness, what cheerfulness.– Thirty Paris winters, but then the farewell to “Babylon”. – A stroke changes everything – Albert Anker’s wish on entering paradise: To be able to take painting lessons from Raffael.
And suddenly we are gripped by a great artist who belongs not only in the museum, but also in our minds and hearts.