Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 2 works by Th. Wegener in our catalogue
In short
Th. Wegener's best-known piece is Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838). You'll find it at the Statens Museum For Kunst in Copenhagen. We have 2 works by Th. Wegener in our catalogue; this guide picks out the 2 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 Th. Wegener | Paintings from this list |
|---|---|---|---|
 Statens Museum For Kunst |
Copenhagen | 2 | Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg, Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru |
17 years separate Th. Wegener's earliest and latest dated pieces here, 1838 and 1854. Explore that career year by year.
Pick a year to see its pieces.
Top of the list is Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838).
21 years old. Th. Wegener was born in 1817, and Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg dates from 1838.
We have 2 works by Th. Wegener in our catalogue, dated 1838 to 1854.
You'll find most of them in Statens Museum For Kunst (Copenhagen). The museum list above has the full breakdown.
The earliest piece here is Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838); the most recent is Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru (1854).
You can see 2 of the pieces on this page at the Statens Museum For Kunst, Copenhagen, including Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg and Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru.
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.
In the quiet town of Roskilde, Denmark, the story of Th. Wegener began in 1817. He was born into a family where intellect and faith held a steady presence, being the son of the theologian Jens Ernst Wegener and his wife, Birgitte, who was born Bindesbøll. This domestic foundation provided the early backdrop for a life that would eventually be defined by the brush and the canvas rather than the pulpit.
The young man’s path toward the arts was shaped by the guidance of Jon Gulsen Berg, a painter who held the prestigious position of Danish court painter. Under such tutelage, the inclinations of Th. Wegener found their first formal expression. This early mentorship prepared him for the rigorous discipline required at the Royal Danish Academy of Fine Arts in Copenhagen. It was within these academy walls that his technical skills were forged, transforming a natural talent into a disciplined craft.
His early years were marked by this steady progression from a student under a master to a formal scholar of the arts. He moved through the halls of the Academy with a growing sense of purpose, absorbing the traditions of his homeland. This period of study was not merely about learning technique, but about finding his place within the long lineage of Danish painters. By the time he completed his formal education, the foundations of his future career were firmly established.
In 1839, Wegener sought to expand his horizons beyond the familiar halls of the Royal Danish Academy of Fine Arts. He traveled to Germany, driven by a desire to master the craft of decorative painting. This period of his life was defined by practical labor and the disciplined study of ornamentation. He spent several years working in this capacity, honing his technical skills through the application of color and pattern to various surfaces.
This time spent in Germany provided him with a steady hand and a deep understanding of composition. When he eventually returned to his homeland, his artistic focus had shifted toward more complex narratives. He began to specialize in the depiction of biblical and historical scenes, using his training to bring ancient stories to life on canvas. His brushwork sought to capture the weight of history through clear color and a direct, legible style of storytelling.
Beyond these grand historical subjects, Wegener’s interests remained broad. He turned his attention to the quiet beauty of landscapes and the everyday charm of genre pieces. These works allowed him to explore the natural world and the simple movements of daily life, complementing the more formal compositions of his historical studies. His ability to move between the sacred themes of scripture and the earthly realities of landscape and genre made him a versatile presence in the Danish art scene.
