Fåborg, 13-05-1868-Fåborg, 06-10-1928, painter
Company: Paris, Rome, Italy, The Netherlands, Belgium, Denmark
Preliminary Exam, Kbh. 1883; Technical School, Kbh. (H. Grønvold); painter apprentice with his father in Colorado Springs; The artists ' Studio School 1884, Zahrtmann dec. 1885-90, periodically 1891-96; Croquis school in Holckenhus spring of 1909.
Scholarships and honours:
Medal, Chicago 1893; Academy. 1899; Honorable mention, Paris 1900; Bielke 1902; Stoltenberg, 1903; Raben-Levetzau 1909; honorary citizen of Fåborg 1928.
Travel and stay abroad:
Netherlands 1892; Rome, Olevano 1899; Naples, Pompei, Civita d'Antino 1903-05; Netherlands, Belgium, Paris 1909; Italy, among others. Pompei 1913-14; Civita d'Antino, Rome 1919-21; Rome 1927-28.
Exhibitions (inter alia):
Kleis ' Høstudst., Cph. 1882; Charl. Spring 1889-97; Kleis, Kbh. 1892; verdensudst., Chicago 1893; The free Device. 1894-1913, 1925-29 (mindeudst.); Artists ' Studiesk. Dog show. 1896; verdensudst., Paris, 1900; 1989; The glass palace, Munich 1909; Works by Modern Da. Artists, Public Art GAL., Brighton 1912; The Baltic Device., Malmö 1914; Later then. Art, Liljevalchs, Sth. 1919; Since. NAT. Exhib., Brooklyn Mouse. 1927; Since. målarkonst, Helsingfors 1928; L'art en., Jeu de Paume, Paris 1928;
Peter Hansen was permanently marked by Zahrtmanns free view on the painting. As Johannes Larsen and Fritz Syberg he was among his first pupils, and there was a camaraderie between the 3 that came to form the core of the painters from Funen.
Hansen and his childhood home in Fåborg became a rallying point for the painters from Funen, which was seen as controversial because of their colors, techniques and motifs, which by some critics considered rural and brash. H's production showing from the outset a well-developed sense of form and a subtle coloristic sense. The images describe the reality, Hansen was surrounded by. His landscapes have high horizon, widespread fields of grain and depth-building fences or are supported under a cloudy summer sky, URf.eks. Surging rye (1894), which in color and composition is inspired by Van Gogh, whose pictures were exhibited in Copenhagen in 1893. People included in most landscape paintings that often is akin to natural of genre pictures, while others are influenced by French impressionism, as Hansen had been able to look at the exhibitions in Copenhagen at the end of the 1880s. His light-and color vision was from about 1896 influenced by Th. Philipsens paint way. From 1905 lived Hansen with his family in winter on Vesterbro in Copenhagen, where he painted the area around Enghave Plads. H's openness to new currents in art is reflected in these images, among other things. as a movement, intensifying the light and color with yellow, orange, red, violet and a cool blue as essential character colors. The images alternate between a tight composition and sketch characterised informality in the depiction of walkers with prams, playing children, newspaper readers in front of the hanging cabinets, men with Sunday bottles of beer and future technical advances: The yellow trams, as Hansen quickly withdrew in his motive. Hansen was socially conscious, but not social realist like his friend Jens birkholm, and he painted without indignation. Italy's research visits brought Hansen new topics like alien landscapes, folk life, etc., but even if the motives are similar to older Danish painters ', are rendering new due to the free composition and bold colour scheme. H's shape images is unsentimental and straightforward, the portraits are best when models are family and friends, or when they are done as studies, URf.eks. the sketches for the monumental painting Faaborg Museum Dedication (1910-12), who arguably is H's most ambitious work.