1
Portræt af en ung pige
Hand-painted oil reproduction from $178 28 × 35 cm
Same size as the original $251 53 × 64 cm Order at original size →
Peter Copmann, 1794 – 1850
Peter Copmann's 1 Most Famous Paintings
Portræt af en ung pige (1824) is the painting Peter Copmann is best remembered for; it belongs to the Statens Museum For Kunst, Copenhagen. Our catalogue counts 1 works by Peter Copmann. Here are the 1 most famous, with the year, the museum and the story of each canvas.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated November 2026. Each painting on this page can be ordered as an oil reproduction painted by hand on linen canvas, or as a fine art print, made to the size you choose.
- Born · died
- 1794 – 1850, Rudkøbing
- Works in our catalogue
- 1
- Most famous
- Portræt af en ung pige (1824)
- Most works at
- Statens Museum For Kunst
The ten best-loved paintings by Peter Copmann
Where Peter Copmann's canvases hang
The museum that holds the most of the paintings on this page.
| Museum | City | Works by Peter Copmann | Paintings from this list |
|---|---|---|---|
 Statens Museum For Kunst |
Copenhagen | 1 | Portræt af en ung pige |
Peter Copmann's most famous canvases, one year after another
The dated canvases of Peter Copmann on this page all belong to 1824: here they are, in order of fame.
-
1824
Canvas 1 of 1
Portræt af en ung pige
Peter Copmann's canvases, question by question
Which canvas is Peter Copmann most remembered for?Read the answer
Portræt af en ung pige (1824).
Portræt af en ung pige: how old was Peter Copmann when it was painted?Read the answer
Peter Copmann, born in 1794, was 30 years old: Portræt af en ung pige dates from 1824.
How many paintings did Peter Copmann create?Read the answer
1 works by Peter Copmann are in our catalogue.
Where do Peter Copmann's most famous canvases hang today?Read the answer
Mostly in Statens Museum For Kunst (Copenhagen); the list above names each museum and its canvases.
Where can I buy a reproduction of a Peter Copmann painting?Read the answer
Yes. Every painting on this page can be ordered from its own page as an oil reproduction painted by hand, or as a fine art print, in the size you choose.
Meet the painter: Peter Copmann
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.