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Postmester Christian Ludvig Pind
Håndmalet oliereproduktion fra $181 28 × 36 cm
Samme størrelse som originalen $190 32 × 40 cm Bestil i original størrelse →
Maleriet, der gjorde Peter Petersen berømt, er Postmester Christian Ludvig Pind (1835); det hænger på Nationalmuseet for kunst, arkitektur og design i Oslo. Af de 2 værker af Peter Petersen i vores katalog er disse 2 de mest beundrede, hver præsenteret med sit årstal, sit museum og det, der gør værket unikt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Peter Petersen | Malerier fra denne liste |
|---|---|---|---|
 Nationalmuseet for kunst, arkitektur og design |
Oslo | 2 | Postmester Christian Ludvig Pind, Cathrine Pind, f. Schive |
Hvert dateret mesterværk af Peter Petersen på denne side tilhører 1835: her er de.
Postmester Christian Ludvig Pind (1835)
41 år gammel: Postmester Christian Ludvig Pind er fra 1835, og Peter Petersen blev født i 1794.
Vores katalog indeholder 2 værker af Peter Petersen.
De fleste af dem findes i Nationalmuseet for kunst, arkitektur og design (Oslo). Tabellen ovenfor lister museerne enkeltvis.
I 1835: 2 af de 2 værker på denne side stammer fra denne periode, herunder Postmester Christian Ludvig Pind.
Postmester Christian Ludvig Pind og Cathrine Pind, f. Schive er blandt de 2 værker på denne side, som er i Nationalmuseet for kunst, arkitektur og design, Oslo's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
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.