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Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg
El boyaması yağlı boya reprodüksiyon fiyatları $331 35 × 28 cm
Orijinal boyutunda $384 58 × 47 cm Orijinal boyutunda sipariş verin →
Th. Wegener ismini duyuran tablo Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838) eseridir; bu eser Kopenhag, Statens Museum For Kunst bünyesinde sergilenmektedir. Katalogumuzdaki Th. Wegener imzalı 2 eser arasından en çok beğenilen bu 2 eser; yapıldığı tarih, sergilendiği müze ve onu eşsiz kılan özellikleriyle birlikte sunulmuştur.
Her bir eser için yapılan aramalar, ziyaretler ve siparişlerin birleşimiyle oluşturulan popülerlik puanımıza göre sıralanmıştır. Kasım 2026 tarihinde güncellenmiştir. Bu sayfadaki her bir şaheser, seçtiğiniz boyutta müze kalitesinde, el yapımı yağlı boya reprodüksiyon veya sanat baskısı olarak sipariş edilebilir.
Bu sayfadaki tabloların en büyük kısmına ev sahipliği yapan müze.
| Müze | Şehir | Th. Wegener Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 Statens Museum For Kunst |
Kopenhag | 2 | Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg, Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru |
1838 ile 1854 yılları arasında, Th. Wegener sanatının en seçkin tablolarıyla yıl yıl 17 yıllık serüveni.
Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838)
21 yaşında: Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg 1838 yılına aittir ve Th. Wegener 1817 yılında doğmuştur.
Kataloğumuz, Th. Wegener tarafından 1838 ile 1854 tarihleri arasında üretilen 2 eseri listelemektedir.
Çoğu Statens Museum For Kunst (Kopenhag) bünyesinde bulunmaktadır. Yukarıdaki tablo müzeleri tek tek listelemektedir.
Bu sayfadaki en eski eser Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838), en yeni eser ise Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru (1854)'dir.
Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg ve Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru, Statens Museum For Kunst, Kopenhag bünyesinde bulunan bu sayfadaki 2 eser arasında yer almaktadır.
Evet. Bu sayfadaki her tablo, tablonun kendi sayfasından seçtiğiniz boyutta, müze kalitesinde, el yapımı bir yağlı boya reprodüksiyon veya bir sanat baskısı olarak sipariş edilebilir.
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.
