Het meest geliefde schilderij van Th. Wegener is Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838), dat hangt in het Statens Museum for Kunst, Kopenhagen. Onze catalogus bevat 2 werken van Th. Wegener: hier zijn de 2 bekendste, elk met het jaartal, het museum en wat het werk zo bijzonder maakt.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in november 2026. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde oliereductie op linnen canvas, of als een fine art print, uitgevoerd in de door u gekozen afmeting.
Het museum met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Th. Wegener | Schilderijen uit deze lijst |
|---|---|---|---|
 Statens Museum for Kunst |
Kopenhagen | 2 | Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg, Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru |
Th. Wegener aan het ezel gedurende 17 jaar, van 1838 tot 1854: de meest geliefde doeken van elk jaar, in chronologische volgorde.
Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838)
Th. Wegener, geboren in 1817, was 21 jaar oud: Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg dateert uit 1838.
2 werken van Th. Wegener zijn opgenomen in onze catalogus, gedateerd van 1838 tot 1854.
Voornamelijk in Statens Museum for Kunst (Kopenhagen); de bovenstaande lijst vermeldt elk museum en de bijbehorende doeken.
Het oudste canvas hier is Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838); het nieuwste is Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru (1854).
Het Statens Museum for Kunst, Kopenhagen herbergt 2 van de werken op deze pagina, waaronder Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg en Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru.
Ja. Elk schilderij op deze pagina kan via de eigen pagina worden besteld als een handgeschilderd olieverfreproductie, of als een fine art print, in de door u gekozen afmeting.
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.
