Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 1 works by Peter Copmann in our catalogue
In short
Peter Copmann's best-known piece is Portræt af en ung pige (1824). You'll find it at the Statens Museum For Kunst in Copenhagen. We have 1 works by Peter Copmann in our catalogue; this guide picks out the 1 best known, with the year, the museum and the story of each piece.
The museum that holds the most of the paintings on this page.
| Museum | City | Works by Peter Copmann | Paintings from this list |
|---|---|---|---|
 Statens Museum For Kunst |
Copenhagen | 1 | Portræt af en ung pige |
The dated Peter Copmann pieces on this page all come from 1824. Here they are, in order of fame.
Pick a year to see its pieces.
Top of the list is Portræt af en ung pige (1824).
30 years old. Peter Copmann was born in 1794, and Portræt af en ung pige dates from 1824.
We have 1 works by Peter Copmann in our catalogue.
You'll find most of them in Statens Museum For Kunst (Copenhagen). The museum list above has the full breakdown.
Yes. Every painting on this page is available as a hand-painted oil reproduction or a print, in the size that suits you. Just open the painting's page to order.
Born in 1794, Peter Copmann lived through a period of significant artistic transition. His life, which concluded in 1850, was defined by a commitment to capturing the likeness of individuals and the quiet details of the natural world. Working primarily in Denmark, he developed a skill for both the delicate touch of pastel and the precise lines of lithography. His hands were as comfortable with the soft, powdery texture of a portrait as they were with the technical demands of printmaking.
His work often focused on the human face, seeking to find the character within a sitter's gaze. In his 1832 pastel portrait of the composer Friedrich Kuhlau, Copmann demonstrated his ability to interpret existing works, creating a new version of a portrait originally painted by Christian Horneman. This ability to translate one medium into another shows a deep understanding of light and form. He did not merely copy; he reinterpreted the essence of his subjects through his own lens.
Copmann’s repertoire was diverse, spanning from the intimate scale of a portrait to the expansive views of a rural scene. He moved between different artistic subjects with ease, often finding beauty in the simplest elements of nature. His technical range allowed him to explore various ways of seeing the world:
In his lithograph of Johan Christian Ryge, there is a specific focus on the subject's unwavering gaze. This directness creates a sense of psychological depth, making the viewer feel the weight of the sitter's presence. It is a quiet, steady way of engaging with the world, avoiding the dramatic in favor of the sincere.
