Self-portrait (1795) е най-известната картина на Cornelia Scheffer, която се намира в Dordrechts Museum в Дордрехт. Woman with Two Children on a Country Road (1811) и The Women of Souli (1833) са следните две най-известни творби в света. От 4 произведения на Cornelia Scheffer в нашия каталог, ето 4-те, които колекционерите и посетителите на музеи разглеждат най-често, с годината, музея и историята на всяко от тях.
Класирани според нашия коефициент за популярност, който съчетава търсенията, посещенията и поръчките за всяко произведение. Обновено Ноември 2026. Всяко шедьовър на тази страница може да бъде поръчано като маслено репродукция на ръка с музейно качество или като художествен принт, в избран от Вас размер.
Музеят, който притежава най-голям брой от картините на тази страница.
| Музеи | Град | Творения на Cornelia Scheffer | Картини от този списък |
|---|---|---|---|
 Dordrechts Museum |
Дордрехт | 4 | Self-portrait, Woman with Two Children on a Country Road, The Women of Souli |
Self-portrait (1795), Dordrechts Museum, Дордрехт. Следват Woman with Two Children on a Country Road (1811) и The Women of Souli (1833).
26 години: Self-portrait е от 1795 г., а Cornelia Scheffer е роден/а в 1769.
В нашия каталог са изброени 4 произведения на Cornelia Scheffer, датирани от 1795 до 1833.
Повечето от тях се намират в Dordrechts Museum (Дордрехт). В горната таблица музеите са изброени един по един.
Най-старата творба на тази страница е от Self-portrait (1795), а най-новата е от The Women of Souli (1833).
Self-portrait, Woman with Two Children on a Country Road и The Women of Souli са сред 4-те произведения на тази страница, съхранявани в Dordrechts Museum, Дордрехт.
Да. Всяка картина на тази страница може да бъде поръчана като ръчно рисувано маслено репродукция музейно качество или като художествен принт в избран от Вас размер, директно от страницата на съответната картина.
Dordrecht, 1769. Cornelia Lamme enters the world as the daughter of Arie Lamme, a landscape painter whose influence likely shaped her early hands. She grows up within an artistic circle, learning the delicate nuances of portrait miniatures. Her childhood is marked by linguistic agility, mastering French, German, and English. The stability of the Dutch Republic shifts in 1787 when Prussian forces arrive; the family flees to the southern Netherlands for two years before returning home.
In October 1794, a union occurs that merges two artistic lineages. Cornelia marries Johann Baptist Scheffer. This partnership is defined by shared skill and the movement of a family through The Hague, Rotterdam, and Amsterdam. She carries the title of miniature painter, working with watercolor and gouache on ivory to capture the likenesses of her own kin.
The year 1809 brings a sudden fracture. Johann dies at age 45. The financial weight of the family shifts. Following the death of her husband, Cornelia moves to Brussels, and by 1811, she settles in Paris. This relocation is a calculated decision; she believes the French capital offers better prospects for an artist than the Netherlands. She brings her sons, Ary and Hendrik, into this new environment.
Life in Paris involves navigating the district of Saint-Germain under difficult financial circumstances. As her son Ary gains prominence, Cornelia finds a new rhythm within his orbit. Starting in 1821, she begins working as a copyist for him and Hendrik. She uses her brush to replicate their paintings, effectively building a personal collection of their work through duplication.
Cornelia’s presence in the Parisian art scene is felt through her proximity to the great figures of the era. While living with Ary in his villa near Montmartre, she likely encounters the likes of Eugene Delacroix, Theodore Gericault, and Jean Baptiste-Dominating Ingres. Her role as a mother and a copyist places her at the center of a significant artistic household.
Her technical output remains rooted in the intimate scale of her training:
She remains in Paris until her death in 1839 at age 70. She is laid to rest in the Montmartre Cemetery.