Self-portrait (1795) je najbolj znano sliko avtorja Cornelia Scheffer, ki se nahaja v muzeju Dordrechts Museum v mestu Dordrecht. Woman with Two Children on a Country Road (1811) in The Women of Souli (1833) sta naslednji dve dela, ki jih svet najbolje pozna. Od 4 del umetnika Cornelia Scheffer v našem katalogu so tu tista 4, ki jih zbiratelji in obiskovalci muzejev najpogosteje opazujejo, vključno z letnico, muzejom in zgodbojo vsakega dela.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno november 2026. Vsako podobno delo na tej strani je mogoče naročiti kot muzejsko kakovostno ročno slikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti.
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Cornelia Scheffer | Slike iz tega seznama |
|---|---|---|---|
 Dordrechts Museum |
Dordrecht | 4 | Self-portrait, Woman with Two Children on a Country Road, The Women of Souli |
Self-portrait (1795), Dordrechts Museum, Dordrecht. Nato sledeta Woman with Two Children on a Country Road (1811) in The Women of Souli (1833).
26 let: delo Self-portrait iz leta 1795, pri čemer je Cornelia Scheffer rodil/a v 1769.
V našem katalogu je navedenih 4 del avtorja Cornelia Scheffer, datiranih od 1795 do 1833.
Večina njih se nahaja v Dordrechts Museum (Dordrecht). Zgornja tabela navaja muzeje posamezno.
Najstarejšo delo na tej strani je iz Self-portrait (1795), najnovejše pa iz The Women of Souli (1833).
Self-portrait, Woman with Two Children on a Country Road in The Women of Souli so med 4 dela na tej strani, ki jih hrani Dordrechts Museum, Dordrecht.
Da. Vsako sliko na tej strani lahko naročite kot muzejsko kakovostno ročno naslikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti neposredno s strani posamezne slike.
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.