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Josche Roverts Paintings: The 2 Most Famous, Through a Gallery's Eye
Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 2 works by Josche Roverts in our catalogue
In short
To the gallery's eye, Josche Roverts's most famous painting is Mixed Feelings (1972), whose original hangs in the Museum Gouda, Gouda. Of the 2 works by Josche Roverts in our catalog, the gallery presents the 2 most famous below, each original with its year, its museum and what makes it unique.
1936 – 2002, Utrecht
Most works: Museum Gouda
The gallery's top 10 Josche Roverts paintings
The museums that keep Josche Roverts's originals
The museum that holds the most of the paintings on this page.
| Museum | City | Works by Josche Roverts | Paintings from this list |
|---|---|---|---|
 Museum Gouda |
Gouda | 2 | Mixed Feelings, The Butterfly Catcher |
Josche Roverts, the signature paintings of each year
6 years, 1972 to 1977, hold Josche Roverts's whole dated career on this page: a short one, seen here year by year through its most famous originals.
Works per year
Pick a year to see its originals.
Josche Roverts's paintings: the gallery answers
Which Josche Roverts painting is the most famous of all?Reveal the answer
Mixed Feelings (1972).
How old was Josche Roverts on completing Mixed Feelings?Reveal the answer
36 years old: Mixed Feelings dates from 1972, and Josche Roverts was born in 1936.
How many works did Josche Roverts create?Reveal the answer
Our catalog holds 2 works by Josche Roverts, dated from 1972 to 1977.
Where do Josche Roverts's most famous originals hang?Reveal the answer
Mostly in Museum Gouda (Gouda). The museum table above lists them all.
Which are Josche Roverts's earliest and latest famous works?Reveal the answer
On this page, the earliest is Mixed Feelings (1972) and the latest The Butterfly Catcher (1977).
Which Josche Roverts originals does the Museum Gouda hold?Reveal the answer
Mixed Feelings and The Butterfly Catcher: the Museum Gouda, Gouda holds 2 of the works on this page.
Josche Roverts: the artist
The Art of the Figure and the Form
In the studios of the Utrechtse Academie Artibus, the foundations of a career are laid through the guidance of Dirkje Kuik, J. Moesman, and W. van Leusden. Josche Roverts moves through these formative years with a focus on the human presence. Her hands navigate the delicate balance between the precision of a graphic artist and the expressive potential of a painter. The work emerges not as mere representation, but as an exploration of the figure and the portrait, capturing the essence of her subjects through a lens of careful observation.
The transition from student to professional finds its center in Gouda. By 1961, the landscape of her life shifts as she becomes active in the city, eventually establishing a gallery under her own name. This period marks a dual existence: the quiet labor of the studio and the public engagement of the gallery owner. Her identity is often intertwined with her marriage to Henc van Maarseveen, leading her work to be recognized under the name Josche van Maarseveen-Roverts.
Technical Focus and Artistic Circles
Her practice is defined by a commitment to specific disciplines and a dedication to the craft of printmaking and oil painting. The following elements characterize her professional life and artistic affiliations:
- Artistic Disciplines: Painter and graphic artist.
- Specializations: Figurative representations and portraiture.
- Professional Memberships: De Luis (Utrecht graphic society) and Burgvliet (Gouda).
- Educational Background: Artibus Academy, Utrecht.
The output of her hands is vast. Approximately seven hundred paintings have found their way into the hands of private collectors, corporate archives, and museums. This volume speaks to a prolific output that spans decades, moving from the intimate scale of a portrait to the broader compositions found in public collections.
Legacy in Color and Line
The works held in the Museum Gouda, such as Mixed Feelings from 1972 and The Butterfly Catcher from 1977, represent specific moments in her development. These pieces exist alongside a massive body of work distributed across private homes and various collections. Her presence in the Dutch art scene is felt through this wide distribution of imagery, a quiet accumulation of visual records that persist long after her passing in 2002.