Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 1 verk av Peter Copmann i vår katalog
Kort svar
Det mest kjente maleriet av Peter Copmann er Portræt af en ung pige (1824); originalen befinner seg i Statens Museum for Kunst, København. Av de 1 verkene av Peter Copmann i vår katalog, er dette de 1 mest kjente, rangert med årstall og museum, slik at du kan velge maleriet du ønsker å bestille.
Museet som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Peter Copmann | Malerier fra denne listen |
|---|---|---|---|
 Statens Museum for Kunst |
København | 1 | Portræt af en ung pige |
Alle daterte Peter Copmann-malerier på denne siden er fra 1824, oppført her etter rangering.
Velg et år for å se maleriene fra det året.
Portræt af en ung pige (1824) rangerer som nummer én.
Peter Copmann var 30 år gammel: Portræt af en ung pige er datert 1824, og Peter Copmann ble født i 1794.
1 verk av Peter Copmann finnes i vår katalog.
Hovedsakelig i Statens Museum for Kunst (København). Se museumstabellen ovenfor for den fullstendige listen.
Ja. Alle malerier på denne siden kan bestilles som en håndmalt oljereproduksjon eller som et trykk. Åpne maleriet, velg størrelse og legg inn 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.
