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Postmester Christian Ludvig Pind
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Slika koja je proslavila Peter Petersen je Postmester Christian Ludvig Pind (1835); nalazi se u muzeju National Museum of Art, Architecture and Design, Oslo. Od 2 dela umetnika Peter Petersen u našem katalogu, ovih 2 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 новембар 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.
1 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzeji | Grad | Radovi umetnika Peter Petersen | Slike iz ovog spiska |
|---|---|---|---|
 National Museum of Art, Architecture and Design |
Oslo | 2 | Postmester Christian Ludvig Pind, Cathrine Pind, f. Schive |
Svako datirano remek-delo umetnika Peter Petersen na ovoj stranici pripada godini 1835: evo ih.
Postmester Christian Ludvig Pind (1835)
41 godina: Postmester Christian Ludvig Pind datira iz 1835, a Peter Petersen je rođen/a 1794.
Naš katalog sadrži 2 dela umetnika Peter Petersen.
Većina njih se nalazi u National Museum of Art, Architecture and Design (Oslo). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1835: 2 od ukupno 2 dela na ovoj stranici datiraju iz tog vremena, od čega je Postmester Christian Ludvig Pind.
Postmester Christian Ludvig Pind i Cathrine Pind, f. Schive su među 2 dela na ovoj stranici koja se nalaze u National Museum of Art, Architecture and Design, Oslo.
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.
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.