Slika koja je proslavila Hans Smidth je En jysk bonde læser i Bibelen (1870); nalazi se u muzeju Statens Museum For Kunst, Kopenhagen. A Stranger Asking his Way at a Farm on the Moors (1877) i Taterkvinde med sit barn på heden (1885) slede nakon njih u srcima kolekcionara i posetilaca muzeja. Od 40 dela umetnika Hans Smidth u našem katalogu, ovih 40 su najcenjenija, a svako je predstavljeno sa datumom nastanka, muzejom i onim što ga izdvaja.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano октобар 2026. Svako remek-delo na ovoj stranici može se naručiti kao ručno oslikana uljana reprodukcija muzejskog kvaliteta ili kao umetnička štampa, u dimenzijama koje odaberete.
6 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Hans Smidth | Slike iz ovog spiska |
|---|---|---|---|
 Statens Museum For Kunst |
Kopenhagen | 34 | En jysk bonde læser i Bibelen, A Stranger Asking his Way at a Farm on the Moors, Taterkvinde med sit barn på heden |
 National Museum of Art, Architecture and Design |
Oslo | 1 | Eel-catcher with Spear |
 Ribe Kunstmuseum |
Esbjerg | 1 | Strangers Are Expected |
 Nationalmuseum |
Стокхолм | 1 | At the Kerteminde Fair. Study |
 Hirschsprung Collection |
Kopenhagen | 1 | Interior with flowers at the window |
 Finnish National Gallery |
Helsinki | 1 | Cabbage Land |
En jysk bonde læser i Bibelen (1870), Statens Museum For Kunst, Kopenhagen. Sledeći su A Stranger Asking his Way at a Farm on the Moors (1877) i Taterkvinde med sit barn på heden (1885).
31 godina: En jysk bonde læser i Bibelen datira iz 1870, a Hans Smidth je rođen/a 1839.
En jysk bonde læser i Bibelen, A Stranger Asking his Way at a Farm on the Moors, Taterkvinde med sit barn på heden, Pouline, Travellers in a Third Class Compartment, Driving Home, I dagvognen. Kunstnerens broderbørn, Pastor Sören blows out the candle on the New Year's Eve, A Clog Maker's Workshop i Vestjyder uden for høkeren. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 40 dela umetnika Hans Smidth, datiranih od 1870 do 1915.
Većina njih se nalazi u Statens Museum For Kunst (Kopenhagen), National Museum of Art, Architecture and Design (Oslo) i Ribe Kunstmuseum (Esbjerg). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1880s: 12 od ukupno 40 dela na ovoj stranici datiraju iz tog vremena, od čega je Taterkvinde med sit barn på heden.
Najstarije delo na ovoj stranici je iz En jysk bonde læser i Bibelen (1870), a najnovije iz Interior with flowers at the window (1915).
En jysk bonde læser i Bibelen, A Stranger Asking his Way at a Farm on the Moors i Taterkvinde med sit barn på heden su među 34 dela na ovoj stranici koja se nalaze u Statens Museum For Kunst, Kopenhagen.
Da. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu muzejskog kvaliteta ili kao umetnički print, u veličini koju odaberete, direktno sa stranice te slike.
In the quiet, windswept expanses of the Danish landscape, there exists a profound connection between the earth and those who inhabit it—a connection captured with unparalleled sincerity by Hans Ludvig Smidth. Born in Nakskov in 1839, Smidth was an artist whose heart beat in rhythm with the rugged beauty of Jutland. Though he initially set his sights on the rigorous study of medicine, the call of the canvas proved irresistible, leading him to abandon the stethoscope for the brush. This transition from science to art allowed him to approach his subjects with a unique precision, observing the natural world not just as a collection of forms, but as a living, breathing narrative of survival and grace.
His formal journey began at the Danish Academy under the guidance of Niels Simonsen, yet Smidth’s true education took place amidst the Limfjord and the desolate, haunting moors. He was an artist who found majesty in the mundane, seeking out the local inhabitants and the animals that shared their toil. While his early works were noted for a certain dryness in color, they possessed a technical mastery of form that commanded respect. As he matured, his style underwent a remarkable transformation; the once-stiff landscapes began to breathe with a newfound fineness of tone, earning him the prestigious Neuhausen Prize in 1877 for his evocative depiction of a stranger seeking directions at a moorland farm.
What distinguishes Smidth from the more celebrated Skagen Painters is his refusal to romanticize or mythologize his subjects. He did not seek to drape the Danish countryside in historical or legendary finery; instead, he presented the world exactly as he saw it. His paintings are windows into a vanished era of country life, characterized by an honest, unpretentious gaze. There is a quiet dignity in his portrayal of the peasantry and the livestock, a respect for the land that transcends mere documentation. He captured the heavy atmosphere of a storm and the stillness of a frozen stream with equal emotional weight, making the viewer feel the biting chill of a Danish winter or the tension of an approaching tempest.
The true triumph of Smidth’s career arrived later in life, proving that artistic evolution is often a slow, deliberate ripening. At the age of sixty, a special exhibition arranged by the Danish Art Society revealed to the nation the depth of his genius. The overwhelming success of this exhibition—where nearly every sketch and drawing was claimed by collectors—solidified his reputation as a master of the Jutland landscape. His work remains a peculiar and beautiful blend of tradition and personality, standing as a testament to an artist who found the infinite within the intimate, and who taught us to see the profound beauty in the simple, unadorned reality of the natural world.