Self-portrait (1795) on Cornelia Scheffer kuulsaim teos, mis kuulub Dordrecht Dordrechts Museum kogumikus. Woman with Two Children on a Country Road (1811) ja The Women of Souli (1833) on järgmised kaks maailmas kõige tuntumat teost. Cornelia Scheffer 4 teoseaga meie kataloogist on siin 4 kõige vaadeldavamat teost, mida sammlerid ja muuseumi külastajad on jälginevad, koos aasta, museumi ja iga teose ajaloolise luguga.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud november 2026. Iga selle lehekülje meistriteos on tellitav muuseumikvaliteedse käsitsi maalatuna õlireproduktsiona või fine art trükkina vastavalt valitud suurusele.
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | Cornelia Scheffer teosid | Selle nimekirja maalid |
|---|---|---|---|
 Dordrechts Museum |
Dordrecht | 4 | Self-portrait, Woman with Two Children on a Country Road, The Women of Souli |
Self-portrait (1795), Dordrechts Museum, Dordrecht. Järgnevad Woman with Two Children on a Country Road (1811) ja The Women of Souli (1833).
26 aastat vanus: teos Self-portrait on aastatest 1795 ja kunstnik Cornelia Scheffer on sündinud aastal 1769.
Meie kataloogis on 4 teost kunstnikult Cornelia Scheffer, aastatest 1795 kuni 1833.
Enamik neist asub Dordrechts Museum (Dordrecht). Ülemal olev tabel on loetelnud muuseumid üks-eiralt.
Sellel lehel on kõige vanem teos Self-portrait (1795) ja kõige uuem The Women of Souli (1833).
Self-portrait, Woman with Two Children on a Country Road ja The Women of Souli on üks 4 teosest sellel lehel, mida hoiab Dordrechts Museum, Dordrecht.
Jah. Iga maali sellel lehel on võimalik tellida muuseumikvaliteedilisena käsitööna valminud õlimaalina või fine art trükkina vastavalt valitud måõduna otse maali oma lehekülalt.
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.