Self-portrait (1795) je najznámejším obrazom umelca Cornelia Scheffer, ktorý sa nachádza v múzeu Dordrechts Museum v meste Dordrecht. Woman with Two Children on a Country Road (1811) a The Women of Souli (1833) sú ďalšími dvoma najznámejšími dielami sveta. Z 4 diel umelca Cornelia Scheffer v našom katalógu sme vybrali tých 4, na ktoré sa kolecionéri a návštevníci múzeí pozerajú najčastejšie, spolu s rokom, múzeom a príbehom každého diela.
Poriadkované podľa nášho skóre popularity, ktoré kombinuje počet vyhľadávaní, návštev a objednávok pre každé dielo. Aktualizované november 2026. Každé majstrovské dielo na tejto stránke si môžete objednať ako ručne maľovanú olejobraskovú reprodukciu múzeálnej kvality alebo ako umeleckú tlač, v rozmeroch podľa vašej voľby.
Múzeum, ktoré vlastní najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Cornelia Scheffer | Obrazy z tohto zoznamu |
|---|---|---|---|
 Dordrechts Museum |
Dordrecht | 4 | Self-portrait, Woman with Two Children on a Country Road, The Women of Souli |
Self-portrait (1795), Dordrechts Museum, Dordrecht. Nasledujú Woman with Two Children on a Country Road (1811) a The Women of Souli (1833).
26 rokov: Self-portrait vzniklo v roku 1795 a Cornelia Scheffer sa narodil/a v roku 1769.
Náš katalóg obsahuje 4 diel umelca Cornelia Scheffer z perioda od 1795 do 1833.
Väčšina z nich sa nachádza v Dordrechts Museum (Dordrecht). Tabuľka vyššie uvádza jednotlivé múzeá.
Najstaršie dielo na tejto stránke pochádza z Self-portrait (1795), najnovšie z The Women of Souli (1833).
Self-portrait, Woman with Two Children on a Country Road a The Women of Souli sa nachádzajú medzi 4 dielami na tejto stránke, ktoré vlastní Dordrechts Museum, Dordrecht.
Áno. Každý obraz na tejto stránke si môžete objednať ako ručne maľovanú olejobraskovú reprodukciu múzeálnej kvality alebo ako umeleckú tlač, v požadovanom rozмере, priamo na stránke daného obrazu.
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.