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Peter Copmann: 1 kuulsamat maali kataloog
Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 1 teost Peter Copmann meie kataloogis
Kokkuvõte
Portræt af en ung pige (1824) on kirjeldatud kui Peter Copmann kuulsaim teos; seda hoiab Statens Museum For Kunst, Kooberemaa. Kataloogis olevatest Peter Copmann 1 teosest on alljärgnevalt toodud 1 kõige tuntumat, koos iga teose kuupide, säilitavat museumite ja märkmetega.
1794 – 1850, Rudkøbing
Enamama teoseid: Statens Museum For Kunst
1.–10. koht: ku名umad Peter Copmann maalid
Peter Copmann: muuseumide lemmik
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | Peter Copmann teosid | Selle nimekirja maalid |
|---|---|---|---|
 Statens Museum For Kunst |
Kooberemaa | 1 | Portræt af en ung pige |
Aastakompakt: peamised Peter Copmann teosed
Iga kuupidega Peter Copmann märken sel lehel kannab kuupärast 1824; teosed on loetletud reitingi järgi.
Teosed aasta kaupa
Valige aasta, et näita selle aasta peamisi maale.
Kordat esitatud küsimused kunstniku Peter Copmann maalidest
Mis on Peter Copmann kõige tuntum teos?Näita vastust
Portræt af en ung pige (1824)
Kui vana Peter Copmann oli aastal Portræt af en ung pige?Näita vastust
30 aastat: Peter Copmann sündis aastal 1794 ning teos Portræt af en ung pige on pärinev aastast 1824.
Kui palju teoseid kunstniku Peter Copmann kataloog sisaldab?Näita vastust
Kataloogis on 1 teost kunstnikult Peter Copmann.
Kus asuvad Peter Copmann peateosed?Näita vastust
Peamiselt Statens Museum For Kunst (Kooberemaa). Ülemine muuseumide tabel annab täieliku jaotuse.
Peter Copmann elulugu
A Life in Portraiture and Landscape
Born in 1794, Peter Copmann lived through a period of significant artistic transition. His life, which concluded in 1850, was defined by a commitment to capturing the likeness of individuals and the quiet details of the natural world. Working primarily in Denmark, he developed a skill for both the delicate touch of pastel and the precise lines of lithography. His hands were as comfortable with the soft, powdery texture of a portrait as they were with the technical demands of printmaking.
His work often focused on the human face, seeking to find the character within a sitter's gaze. In his 1832 pastel portrait of the composer Friedrich Kuhlau, Copmann demonstrated his ability to interpret existing works, creating a new version of a portrait originally painted by Christian Horneman. This ability to translate one medium into another shows a deep understanding of light and form. He did not merely copy; he reinterpreted the essence of his subjects through his own lens.
Technique and Subject Matter
Copmann’s repertoire was diverse, spanning from the intimate scale of a portrait to the expansive views of a rural scene. He moved between different artistic subjects with ease, often finding beauty in the simplest elements of nature. His technical range allowed him to explore various ways of seeing the world:
- Portraiture: He captured the presence of notable figures, using pastel to achieve a softness that mimicked the skin and clothing of his subjects.
- Landscape and Nature: His studies of the outdoors brought the quietude of the countryside into the studio.
- Lithography: Through printmaking, he was able to share his visions of people and places with a wider audience.
In his lithograph of Johan Christian Ryge, there is a specific focus on the subject's unwavering gaze. This directness creates a sense of psychological depth, making the viewer feel the weight of the sitter's presence. It is a quiet, steady way of engaging with the world, avoiding the dramatic in favor of the sincere.