Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 1 værker af Peter Copmann i vores katalog
Hurtigt svar
Det mest berømte maleri af Peter Copmann er Portræt af en ung pige (1824); originalen findes på Statens Museum for Kunst, København. Ud af de 1 værker af Peter Copmann i vores katalog er dette de 1 mest berømte, rangeret med årstal og museum, så du kan vælge det maleri, du ønsker at bestille.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Peter Copmann | Malerier fra denne liste |
|---|---|---|---|
 Statens Museum for Kunst |
København | 1 | Portræt af en ung pige |
Alle daterede Peter Copmann malerier på denne side er fra 1824 og er her opført efter rang.
Vælg et årstal for at se dets malerier.
Portræt af en ung pige (1824) er nummer ét.
Peter Copmann var 30 år gammel: Portræt af en ung pige er dateret 1824, og Peter Copmann blev født i 1794.
1 værker af Peter Copmann er i vores katalog.
Primært i Statens Museum for Kunst (København). Se museomtabelen ovenfor for den fulde liste.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion eller som et print. Åbn maleriet, vælg størrelsen og afgiv din bestilling.
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.
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:
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.
