Aktualizacja: Listopad 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 2 dzieł Peter Petersen w naszym katalogu
W skrócie
Jeśli znasz choć jedno dzieło Peter Petersen, to prawdopodobnie jest to Postmester Christian Ludvig Pind (1835), które znajduje się w National Museum of Art, Architecture and Design w Oslo. Nasz katalog zawiera 2 dzieł autorstwa Peter Petersen. Poniżej znajduje się 2 najbardziej znanych prac, z podaniem roku powstania, miejsca ekspozycji oraz informacji o tym, co czyni je wyjątkowymi.
Muzeum, w którym znajduje się najwięcej obrazów prezentowanych na tej stronie.
| Muzea | Miasto | Dzieła artysty Peter Petersen | Obrazy z tej listy |
|---|---|---|---|
 National Museum of Art, Architecture and Design |
Oslo | 2 | Postmester Christian Ludvig Pind, Cathrine Pind, f. Schive |
Wszystkie datowane dzieła Peter Petersen na tej stronie pochodzą z jednego roku, 1835. Oto one.
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Na szczycie listy znajduje się Postmester Christian Ludvig Pind (1835).
41 lat. Peter Petersen urodził się w 1794, a Postmester Christian Ludvig Pind pochodzi z 1835.
W naszym katalogu znajduje się 2 dzieł artysty Peter Petersen.
Większość z nich znajdziesz w National Museum of Art, Architecture and Design (Oslo). Powyższa lista muzeów zawiera pełne zestawienie.
W 1835, bardziej niż w jakimkolwiek innym czasie: 2 z 2 dzieł na tej stronie pochodzi właśnie z tego okresu, w tym Postmester Christian Ludvig Pind.
Na tej stronie możesz zobaczyć 2 dzieł znajdujących się w National Museum of Art, Architecture and Design, Oslo, w tym Postmester Christian Ludvig Pind i Cathrine Pind, f. Schive.
Tak. Każdy obraz na tej stronie jest dostępny jako ręcznie malowana reprodukcja olejowa lub wydruk, w rozmiarze dopasowanym do Twoich potrzeb. Aby złożyć zamówienie, wystarczy przejść na stronę wybranego obrazu.
Born on 14 August 1794, in Fåberg Municipality, Peter Petersen began his life surrounded by the practicalities of trade and manual skill. He likely spent his early years assisting his father, Frederik Petersen, in a workshop where the demands of craft painting were a daily reality. There is a quiet history found in his early displays, such as when he presented two varnished trays at Den kongelige Tegneskole in 1818. These pieces were not mere decorations but trials for carriage varnish, showing a young man testing the limits of his technical precision.
His path eventually led him away from the family workshop toward formal training. Through the generosity of wealthy citizens in Drammen, he was able to study at the art academy in Copenhagen. This period of education brought him into contact with the influential atmosphere of the Danish art scene. He may have even sat in the plaster class of C. W. and Eckersberg in 1824, a time when he was busy creating copies after artists like Carlo Colci to refine his own hand.
By 1825, Petersen had established himself as a painter capable of capturing the likenesses of those living in the Drammen, Tønsberg, and Sandefjord districts. His work was often intimate, focusing on small formats and bust portraits that required a steady, meticulous touch. He did not seek to overwhelm with scale, but rather to provide a detailed rendering of his subjects. This approach sat closely with the Danish Biedermeier style, which favored a sense of domestic calm and careful observation.
His commissions were often personal. Some of his known works include:
While much of his fame rests on these portraits, he also applied his skills to landscapes and the reproduction of altarpieces. He remained a figure connected to his family's trade, performing fine painting work for his brother, Christian Petersen, who had taken over their father's workshop in Drammen.
Petersen spent the majority of his life as a resident of Drammen, with only a brief departure between 1834 and 1835. His presence in the region was marked by this steady, reliable output of portraiture that documented the faces of his community during the mid-19th century. He passed away on 1 June 1858, leaving behind a body of work that remains a window into the social fabric of his time.
