Kasım 2026 tarihinde güncellendi · popülerlik puanımıza göre sıralanmıştır (her bir eser için aramalar, ziyaretler ve siparişler) · 2 eser Peter Petersen kataloğumuzda
Özetle
Eğer bir Peter Petersen tablosu biliyorsanız, bu muhtemelen National Museum of Art, Architecture and Design, Oslo adresinde sergilenen Postmester Christian Ludvig Pind (1835) adlı eserdir. Kataloğumuzda Peter Petersen tarafından yapılmış 2 eser bulunmaktadır. Aşağıda, her biri yapıldığı yıl, bulunabileceği yer ve onu özel kılan detaylarla birlikte, en çok bilinen 2 kişi yer almaktadır.
Bu sayfadaki tabloların büyük bir kısmına ev sahipliği yapan müze.
| Müzeler | Şehir | Peter Petersen Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 National Museum of Art, Architecture and Design |
Oslo | 2 | Postmester Christian Ludvig Pind, Cathrine Pind, f. Schive |
Bu sayfadaki Peter Petersen imzalı tüm tarihli eserler, 1835 yılına aittir. İşte eserler:
Eserleri görmek için bir yıl seçin.
Listenin başında Postmester Christian Ludvig Pind (1835) yer alıyor.
41 yaşında. Peter Petersen, 1794 yılında doğmuştur ve Postmester Christian Ludvig Pind, 1835 yılına aittir.
Kataloğumuzda Peter Petersen tarafından yapılmış 2 eser bulunmaktadır.
Çoğunu National Museum of Art, Architecture and Design (Oslo) içerisinde bulabilirsiniz. Yukarıdaki müze listesi tüm detayları içermektedir.
1835 döneminde, diğer tüm zamanlardan daha fazla: Bu sayfadaki 2 eserin 2 tanesi o döneme aittir, bunların içinde Postmester Christian Ludvig Pind adet bulunmaktadır.
National Museum of Art, Architecture and Design, Oslo bünyesinde yer alan Postmester Christian Ludvig Pind ve Cathrine Pind, f. Schive dahil olmak üzere, bu sayfada 2 adet eser görebilirsiniz.
Evet. Bu sayfadaki her tablo, size uygun boyutlarda, el yapımı yağlı boya reprodüksiyon veya baskı olarak mevcuttur. Sipariş vermek için tablonun sayfasını açmanız yeterlidir.
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.
