About Anne

Anne Hebebrand was born in Germany and has lived in Connecticut for the past ten years. Her artistic roots can be traced back to her great-great uncle Walter Leistikow, a German Impressionist and her great uncle Hans Leistikow, a graphic designer during the Bauhaus Period.

Hebebrand's paintings have been exhibited in New England and the southeast. After completing undergraduate studies at the School of the Museum of Fine Arts, Boston and Tufts University, Hebebrand received her Master of Arts in art history from the University of Alabama in Birmingham. She has completed additional studies at the International School of Arts in Salzburg, Austria and the Atlanta College of Art, Atlanta, Georgia.

Hebebrand's paintings have been selected for exhibition in several Connecticut museums and public spaces including the New Britain Museum of Art, the Mattatuck Museum, the Slater Museum and the Alexey von Schlippe Gallery at the University of Connecticut. Currently, Hebebrand's work is represented by the Brick Walk Fine Art in West Hartford, at the Diane Birdsall Gallery in Old Lyme and at the Fenn Gallery in Woodbury, Connecticut. Her work has also been widely represented in downtown Hartford including solo and group exhibitions at the Artworks Gallery, 100 Pearl Street and the Greater Hartford Arts Council.

Hebebrand's paintings have also been exhibited at the Gertrude Herbert Institute of Art in Augusta, Georgia and at the Boston Museum School where she was a Dana Pond Award recipient. Her paintings are in many private and public collections including Pfizer, Inc. in Groton and Max Restaurant Group in Hartford.

Hebebrand’s work has been featured in The New York Times, The Hartford Courant, the Hartford Advocate and Art New England. In a recent review (the June/July issue of Art New England) by the art critic Patricia Rosoff, she writes:

“What is remarkable is the manner in which the artist evokes a universe of color pregnant with nuanced touches. A square of glowing orange, for instance, glows as if through fog behind a field of saturated red. Lines and snippets of other colors - pink, ochre, lavender, soft green - pass across the picture plane like the faint and trailing record of tail lights in a nocturnal photograph...... Hebebrand’s vocabulary, for all its carefully modulated restraint, is quirky and quick. She’ll rake a little patch of overcolor to allow the field to read through. She’ll float a cooling shape of color on a sea of a warmer hue, without ever actually switching color families or bruising the integrity of her trembling picture plane. She’ll drag a line through seemingly impenetrable mists and let it submerge and reappear in a whimsical dance.”