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Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg
Rukom oslikana uljana reprodukcija od $331 35 × 28 cm
Isti veličine kao original $384 58 × 47 cm Naručite u originalnim dimenzijama →
Slika koja je proslavila Th. Wegener je Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838); nalazi se u muzeju Statens Museum For Kunst, Kopenhagen. Od 2 dela umetnika Th. Wegener 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.
| Muzej | Grad | Radovi umetnika Th. Wegener | Slike iz ovog spiska |
|---|---|---|---|
 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 godina umetnosti Th. Wegener, godinu po godinu, kroz njene najlepše slike.
Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838)
21 godina: Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg datira iz 1838, a Th. Wegener je rođen/a 1817.
Naš katalog sadrži 2 dela umetnika Th. Wegener, datiranih od 1838 do 1854.
Većina njih se nalazi u Statens Museum For Kunst (Kopenhagen). U tabeli iznad su muzeji navedeni jedan po jedan.
Najstarije delo na ovoj stranici je iz Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838), a najnovije iz Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru (1854).
Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg i Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru su među 2 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 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.
