Self-portrait (1795) 是 Cornelia Scheffer 最著名的画作，现由位于 多德雷赫特 的 Dordrechts Museum 收藏。 Woman with Two Children on a Country Road (1811) 和 The Women of Souli (1833) 是世界上知名度最高的两件作品。 在 Cornelia Scheffer 的 4 件作品中，我们为您精选了收藏家和博物馆观众最关注的 4 件作品，并附上创作年份、馆藏机构及每件作品背后的故事。
排名依据为我们的热度评分，该评分综合了每件作品的搜索量、访问量及订单量。更新于 November 2026。 本页面的每一件杰作均可根据您选择的尺寸，定制为博物馆级手工油画复制品或艺术微喷画。
收藏了本页中大部分画作的 1 家博物馆。
| 博物馆 | 城市 | Cornelia Scheffer 的作品 | 此列表中的画作 |
|---|---|---|---|
 Dordrechts Museum |
多德雷赫特 | 4 | Self-portrait, Woman with Two Children on a Country Road, The Women of Souli |
Self-portrait (1795)，Dordrechts Museum, 多德雷赫特。紧随其后的是Woman with Two Children on a Country Road (1811)和The Women of Souli (1833)。
26岁：Self-portrait创作于1795，Cornelia Scheffer出生于1769。
我们的目录收录了 Cornelia Scheffer 的 4 件作品，创作时间从 1795 年至 1833 年。
其中大部分藏于 Dordrechts Museum (多德雷赫特)。上表逐一列出了这些博物馆。
本页最早的作品创作于 Self-portrait (1795)，最晚于 The Women of Souli (1833)。
Self-portrait, Woman with Two Children on a Country Road 及 The Women of Souli 是该页面中由 Dordrechts Museum, 多德雷赫特 收藏的 4 件作品之一。
是的。本页面的每一幅画作均可在画作详情页中，根据您选择的尺寸，定制为博物馆级手工油画复制品或艺术精美版画。
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.