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Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg
Ročno slikana oljna reprodukcija od $331 35 × 28 cm
Velikost kot pri originalu $384 58 × 47 cm Naročite v originalni velikosti →
Slika, ki je prinesla slavo umetniku Th. Wegener, je Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838); razpostaja v muzeju Statens Museum For Kunst, Kopenhagen. Od 2 del umetnika Th. Wegener v našem katalogu so teh 2 najbolj občudovalnih, od katerih je vsak predstavljen z letnico nastanka, muzejem in tistim, kar ga loči od drugih.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno november 2026. Vsako podobno delo na tej strani je mogoče naročiti kot muzejsko kakovostno ročno slikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti.
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Th. Wegener | Slike iz tega seznama |
|---|---|---|---|
 Statens Museum For Kunst |
Kopenhagen | 2 | Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg, Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru |
Od 1838 do 1854, 17 let umetnosti umetnika Th. Wegener, leta po leti, skozi njegova najlepša slika.
Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838)
21 let: delo Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg iz leta 1838, pri čemer je Th. Wegener rodil/a v 1817.
V našem katalogu je navedenih 2 del avtorja Th. Wegener, datiranih od 1838 do 1854.
Večina njih se nahaja v Statens Museum For Kunst (Kopenhagen). Zgornja tabela navaja muzeje posamezno.
Najstarejšo delo na tej strani je iz Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838), najnovejše pa iz Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru (1854).
Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg in Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru so med 2 dela na tej strani, ki jih hrani Statens Museum For Kunst, Kopenhagen.
Da. Vsako sliko na tej strani lahko naročite kot muzejsko kakovostno ročno naslikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti neposredno s strani posamezne slike.
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.
