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Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg
Ročno slikana oljna reprodukcija od $328 35 × 28 cm
Velikost kot pri originalu $381 58 × 47 cm Naročite v originalni velikosti →
Th. Wegener, 1817 – 1877
2 najbolj znanih slik umetnika Th. Wegener, razvrščeno po popularnosti
Najbolj priljubljeno sliko avtorja Th. Wegener je Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838), ki se nahaja v muzeju Statens Museum For Kunst, Kopenhagen. Naš katalog vsebuje 2 del avtorja Th. Wegener: tukaj je 2 najbolj znanih del, od katerih vsako navaja leto nastanka, muzej in razlog za njihovo nepozabnost.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno november 2026. Vsako sliko na tej strani je mogoče naročiti kot ročno slikano oljno reprodukcijo na lanenem platnu ali kot umetniški natisk, izdelan v izbrani velikosti.
- Rodil se · umrl
- 1817 – 1877, Roskilde
- Delo v našem katalogu
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- Najbolj znana
- Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838)
- Največ del v
- Statens Museum For Kunst
10 najboljjših slik umetnika Th. Wegener: platna, ki jih vsi poznajo
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Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru
Ročno slikana oljna reprodukcija od $178 28 × 36 cm
Kje so razpostavljena platna umetnika Th. Wegener
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Th. Wegener | Slike iz tega seznama |
|---|---|---|---|
 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 |
Najljubša platna umetnika Th. Wegener, leto za letom
Th. Wegener ob slikarskem lectu skozi 17 let, od 1838 do 1854: najbolj priljubljena platna vsakega leta, po vrstici.
O platnah umetnika Th. Wegener: odgovori na vaša vprašanja
Katero je najbolj znano sliko avtorja Th. Wegener?Preberite odgovor
Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838)
Koliko je bil Th. Wegener let, ko je bilo naslikano delo Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg?Preberite odgovor
Th. Wegener, rojen leta 1817, je imel 21 let: Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg datira iz leta 1838.
Koliko je vsehih del, ki jih je naslikal Th. Wegener?Preberite odgovor
V našem katalogu je 2 del umetnika Th. Wegener, datiranih od 1838 do 1854.
Kje lahko vidim najslavnejša platna umetnika Th. Wegener?Preberite odgovor
Večinoma v Statens Museum For Kunst (Kopenhagen); zgornji seznam navaja vsak muzej in njegova platna.
Kateri so najstarejši in najmlajši znani platni sliki umetnika Th. Wegener?Preberite odgovor
Najstarejše platno tukaj je Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg (1838); najstarejše je Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru (1854).
Katera platna umetnika Th. Wegener so razstavljena v muzeju Statens Museum For Kunst?Preberite odgovor
Muzej Statens Museum For Kunst, Kopenhagen hrani 2 del z te strani, med katerimi so tudi Prins Buris, Liden Kirsten, Skøn Hulfrid og Stolt Ingefrid fanget af Ulf Svartskæg in Andrea Frederikke Bindesbøll, f. Andersen. Arkitekten Gottlieb Bindesbølls hustru.
Ali lahko kupim reprodukcijo platna avtorja Th. Wegener?Preberite odgovor
Da. Vsako sliko na tej strani lahko naročite na njeni lastni strani kot ročno naslikano oljno reprodukcijo ali kot umetniški natisk v izbrani velikosti.
Th. Wegener: življenje v barvah
Early Life, Family and Training
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.
Professional Training and Career in Germany
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.