Sakskøbing, 14-02-1861-Copenhagen, 16-04-1933, painter
Preliminary exam by CPH. Univ. 1877; in painter learn; Technical. SK.; Kunstakad.
KBH., alm. Conn. kl. Jan. 1878, afg. as a painter March 1883, also a student here in the april quarter, small gold medal 1884 1885.
Scholarships and honours:
Honorable mention, Paris 1889; Aarsmedalje 1 1890; Academy. 1891, 1893, 1898; Eckersberg Medal 1899; eration. by Kunstakad. KBH. Plenary session of 1899; bronze medal Paris 1900; Kaufmann 1904; Medal Munich 1909.
Travel and stay abroad:
Via Italy to Egypt, Palestine, Greece and Turkey, Spain and Paris, 1886; Paris 1889; Italy and France 1891; England 1913.
Artist foren. of 18. Nov., 1882, 1942; Charl. Spring 1883-1907, 1909-10, 1912-15, 1929-33; KE 1905, 1909-11; Graphic artist. social science. Sth. and Oslo 1924, Kbh. 1925; Charl. OJ. 1930; North. Kunstudst., Cph. 1888; verdensudst., Paris 1889, Chicago 1893, Paris 1900; Raadhusudst., Cph. 1901; Landsudst., Aarhus 1909; Internat. device., Budapest 1906-07; The glass palace, Munich 1909, 1913; Dä. Ausst., Kunstgewerbemus., Berlin 1910-11; The Baltic Device., Malmö 1914; L'art anglais, Jeu de Paume, Paris 1928; Skand.
Device., Helsinki 1931 (graphics); Foren. for the night. Art 1933 (retrosp.); Back then in the ' 80s, Art foren., CPH. 1983; Children and young people in da. art, Hjørring Kunstmus. m. fl. 1985-86. Solo Exhibitions: Art foren., Cph.
1887, 1893, 1904, 1929, 1933.
Peter Ilsteds's earliest works were genre paintings and portraits. By his sister Muzza marriage with Vilh. Hammershøi, he came in as well as stylistic motivmæssig respect, under the influence of his style finished interior and figurative art. The realistic representation of the interiors are characterised by a cultivated bourgeois taste. The description of light play over walls and mahogany furniture is undramatic, but heartfelt and reflective. The isolated woman figure acting as with Hammershøi and the distant Dutch models from the 17th century. century often as a character and mood-generating element in the spaces and not rarely gives the image a psychological point ring. Ilsted failed to develop any further autonomy in idiom, Motif or color, and his art went to stand in the shadow of svogerens far originalere voiced. In the best works, however, he achieved a distinctive sophistication, and in the picturesque treatment came not rarely a delicate plasticity of expression. Ilsted was very productive, as supply on the art market shows. His paintings are still popular and affordable collectibles. Perhaps his most significant efforts lie in the graphic works that won wide circulation and popularity. There are around 50 leaves from his hand, executed in the period 1882-1924. In addition, he performed approximately. 70 color press and mezzo tinter. In his black arts he was influenced by old English role models.
As in oil pictures are also here the soft shadows and the lustrous fabric version that falls in the eyes. The motives range from genre paintings of landscapes to portraits and interiors. Within the latter genre is worth emphasising his etchings (Frans Hals) for old and new masters (C.A.
Hans Christian Andersen-Jensen's portrait). The etched portrait of Vilhelm Hammershøi from 1900 shows further Ilsteds great empathy as original graphic artist.