Self-portrait (1795) er det mest berømte maleri af Cornelia Scheffer, som er i Dordrechts Museums samling i Dordrecht. Woman with Two Children on a Country Road (1811) og The Women of Souli (1833) er de næste to værker, som verden kender bedst. Udvalgt fra de 4 værker af Cornelia Scheffer i vores katalog er her de 4, som samlere og museumsgæster oftest opsøger, inklusiv årstal, museum og historien bag hvert værk.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret oktober 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Cornelia Scheffer | Malerier fra denne liste |
|---|---|---|---|
 Dordrechts Museum |
Dordrecht | 4 | Self-portrait, Woman with Two Children on a Country Road, The Women of Souli |
Self-portrait (1795), Dordrechts Museum, Dordrecht. Derefter følger Woman with Two Children on a Country Road (1811) og The Women of Souli (1833).
26 år gammel: Self-portrait er fra 1795, og Cornelia Scheffer blev født i 1769.
Vores katalog indeholder 4 værker af Cornelia Scheffer, dateret fra 1795 til 1833.
De fleste af dem findes i Dordrechts Museum (Dordrecht). Tabellen ovenfor lister museerne enkeltvis.
Det tidligste på denne side er Self-portrait (1795), det seneste The Women of Souli (1833).
Self-portrait, Woman with Two Children on a Country Road og The Women of Souli er blandt de 4 værker på denne side, som er i Dordrechts Museum, Dordrecht's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
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.