Self-portrait (1795) je najpoznatije delo umetnika Cornelia Scheffer, koje se nalazi u muzeju Dordrechts Museum u gradu Dordht. Woman with Two Children on a Country Road (1811) i The Women of Souli (1833) su sledeća dva dela koja svet najbolje poznaje. Od 4 dela umetnika Cornelia Scheffer u našem katalogu, izdvajamo ovih 4 koja kolekcionari i posetioci muzeja najčešće posmatraju, uz navođenje godine, muzeja i priče o svakom od njih.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano октобар 2026. Svako remek-delo na ovoj stranici može se naručiti kao ručno oslikana uljana reprodukcija muzejskog kvaliteta ili kao umetnička štampa, u dimenzijama koje odaberete.
1 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Cornelia Scheffer | Slike iz ovog spiska |
|---|---|---|---|
 Dordrechts Museum |
Dordht | 4 | Self-portrait, Woman with Two Children on a Country Road, The Women of Souli |
Self-portrait (1795), Dordrechts Museum, Dordht. Sledeći su Woman with Two Children on a Country Road (1811) i The Women of Souli (1833).
26 godina: Self-portrait datira iz 1795, a Cornelia Scheffer je rođen/a 1769.
Naš katalog sadrži 4 dela umetnika Cornelia Scheffer, datiranih od 1795 do 1833.
Većina njih se nalazi u Dordrechts Museum (Dordht). U tabeli iznad su muzeji navedeni jedan po jedan.
Najstarije delo na ovoj stranici je iz Self-portrait (1795), a najnovije iz The Women of Souli (1833).
Self-portrait, Woman with Two Children on a Country Road i The Women of Souli su među 4 dela na ovoj stranici koja se nalaze u Dordrechts Museum, Dordht.
Da. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu muzejskog kvaliteta ili kao umetnički print, u veličini koju odaberete, direktno sa stranice te 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.