Just a thin biographical trace remains of the Polish artist, Anna Berent. All that remains are 6 canvasses of real note. 4 of them contain elusive symbolism, indecipherable allegories of her own making that whisper to us of old age, death and passing. Their full meaning is as opaque and as lost in time as their creator.

Symbolic Scene Against The Sea, (Ca 1929). Anna Berent.

We have this. Anna Berent was born in 1871 in Kaiserslautern and died sometime after 1944. Perhaps in Zagreb. In the 1890s, she was studying in Munich, at the Stanisław Grocholski school and at the school of Anton Azbe. In 1899 She met, became engaged and then married Stanisław Berent, the couple moved to Lausanne. There, Berent continued her creative work, but there is no mention of any exhibitions, or any sign of anything at all before 1914.

Anna painted portraits, figural scenes and illustrations, she the four monumental figural scenes you see here. These contain allegories and symbolism which are difficult if not impossible to fully comprehend today, at this distance away in time. But then if we knew everything there would be no mystery, no enigma, no romance. The paintings do conjure up Scandinavian painting, in particular they bear some kind of relationship to Ferdinand Hollar’s work. After the closing of Berent’s Warsaw studio, these works ended up hanging in the National Museum in Warsaw, Poland.

Awakening Of Spring, (Before 1929). Anna Berent.
Evening Song, (Before 1930). Anna Berent.
Reapers, Undated. Anna Berent.
Portrait Of A Man (Renaissance Type), Undated. Anna Berent.
Forest, Undated. Anna Berent.

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