Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 7 teosta taiteilijalta Ferdinand Oldewelt luettelossamme
Lyhyesti
A Gypsy Girl in a Church (1917) on se Ferdinand Oldewelt -maalaus, joka herättää eniten huomiota; alkuperäisteos kuuluu museolle Museum Boijmans Van Beuningen, Rotterdam. Sen jälkeen katse siirtyy kohteisiin Woman with spinning wheel (1886) ja Gypsy girl (1905). Ferdinand Oldeweltin 7 teoksemme joukosta nämä 7 ovat kuuluisimpia; jokainen on ainutlaatuinen alkuperäisteos, joka on esitelty vuosiluvun, museon ja sen syyn kera, miksi teos on säilyttänyt suosionsa.
A young girl occupies the center of this 1917 oil painting, positioned slightly to the left of the vertical axis. She is depicted in a full-length portrait, standing within a muted interior that suggests a church setting. Her figure is defined by a heavy, saturated red coat that provides the primary color weight in the composition. A teal-green scarf is wrapped around her neck, offering a cool contrast to the…
Tämän sivun teoksista eniten sisältävät 4 museota.
| Museo | Kaupunki | Ferdinand Oldewelt teokset | Tämän listan maalaukset |
|---|---|---|---|
 Amsterdam Museum |
Amsterdam | 4 | Woman with spinning wheel, Mr. Willem Frederik Hendrik Oldewelt (1895-?), Portrait of an angora cat |
 Museum Boijmans Van Beuningen |
Rotterdam | 1 | A Gypsy Girl in a Church |
 Dordrechts Museum |
Dordrecht | 1 | Gypsy girl |
 Groninger Museum |
Groningen | 1 | Varkensmarkt on the Grote Markt, Groningen, |
Valitse vuosikymmen nähdäksesi sen määrittäneen alkuperäisteoksen.
A young girl occupies the center of this 1917 oil painting, positioned slightly to the left of the vertical axis. She is depicted in a full-length portrait, standing within a muted interior that suggests a church setting. Her figure is defined by a heavy, saturated red coat that provides the primary color weight in the composition. A teal-green scarf is wrapped around her neck, offering a cool contrast to the…
A Gypsy Girl in a Church (1917), Museum Boijmans Van Beuningen, Rotterdam. Seuraavina ovat Woman with spinning wheel (1886) ja Gypsy girl (1905).
60 vuotta vanha: A Gypsy Girl in a Church on peräisin vuodelta 1917, ja Ferdinand Oldewelt on syntynyt vuonna 1857.
Katalogissamme on 7 teosta taiteilijalta Ferdinand Oldewelt, aikaväliltä 1886–1925.
Pääasiassa Amsterdam Museum (Amsterdam), Museum Boijmans Van Beuningen (Rotterdam) ja Dordrechts Museum (Dordrecht). Yllä oleva museotaulukko listaa ne kaikki.
Aikakaudella 1880s: 3 sivun 7 teoksista on tehty silloin, joista Woman with spinning wheel.
Tällä sivulla vanhin on Woman with spinning wheel (1886) ja uusin Mr. Willem Frederik Hendrik Oldewelt (1895-?) (1925).
Woman with spinning wheel, Mr. Willem Frederik Hendrik Oldewelt (1895-?) ja Portrait of an angora cat: Amsterdam Museum, Amsterdam -ssä on 4 tämän sivun teoksista.
Ferdinand Oldewelt lived a life shaped by the steady rhythm of the studio and the classroom. Born in Amsterdam, he spent his early years absorbing the technical rigor required of a professional artist. His training took him from the Rijksakademie van beeldende kunsten, where he studied under August Allebé and Barend Wijnveld, to the Koninklijke Academie voor Schone Kunsten in Antwerp. It was here, under the guidance of Charles Verlat, that his hand found its specific way of seeing. He was not merely a painter but a man of many tools, working as a printmaker, watercolorist, and etcher. His hands were as comfortable with the sharp bite of an etching needle as they were with the soft spread of a watercolor wash.
His career was defined by a commitment to the instruction of others. He moved through various roles of leadership and teaching, shaping the hands of many students. His influence stretched across several institutions, leaving a mark on the way art was taught in the Netherlands during his lifetime.
By 1890, Oldewelt was among the first to settle near the village of Laren, a place that would become a gathering point for many painters. While he did not officially make Laren his permanent home until 1922, his presence in the area was felt long before. He became part of the Larense School, a group of artists drawn to the rural landscape and the quietude of interior scenes. His work often focused on these intimate subjects, such as a woman with a spinning wheel, capturing the stillness of a moment. He was a man of his community, holding memberships in groups like Arti et Amicitiae and Pulchri Studio.
His technical skill was evident in the way he handled light and form, whether in a formal drawing or a finished painting. He taught many notable figures, including Pieter den Besten and Gesina Boevé, passing down the discipline he had acquired in his own youth. He remained active in his craft and his teaching until his death in Laren in 1935.
