1
Postmester Christian Ludvig Pind
Ručně malovaná olejná reprodukce od $181 28 × 36 cm
Velikost jako originál $190 32 × 40 cm Objednat v originální velikosti →
Obrazem, díky němuž se Peter Petersen stal slavným, je Postmester Christian Ludvig Pind (1835); visí v Národní muzeum umění, architektury a designu v místě Oslo. Z 2 děl umělce Peter Petersen v našem katalogu je těchto 2 nejoblíbenějších, z nichž každé je uvedeno s datem vzniku, muzeem a unikátními rysy.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026. Každé dílo na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru.
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Peter Petersen | Obrazy z tohoto seznamu |
|---|---|---|---|
 Národní muzeum umění, architektury a designu |
Oslo | 2 | Postmester Christian Ludvig Pind, Cathrine Pind, f. Schive |
Každé datované dílo mistra Peter Petersen na této stránce pochází z roku 1835: zde jsou.
Postmester Christian Ludvig Pind (1835)
41 let: dílo Postmester Christian Ludvig Pind pochází z roku 1835 a Peter Petersen se narodil/a v roce 1794.
Náš katalog obsahuje 2 děl autora Peter Petersen.
Většina z nich se nachází v Národní muzeum umění, architektury a designu (Oslo). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
V období 1835: 2 z 2 děl na této stránce pochází z tohoto období, z nich Postmester Christian Ludvig Pind.
Postmester Christian Ludvig Pind a Cathrine Pind, f. Schive patří mezi 2 děl na této stránce, která má v zastarání Národní muzeum umění, architektury a designu, Oslo.
Ano. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru přímo z jeho vlastní stránky.
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.