11월 2026 업데이트 · 인기 점수 기준 순위 (각 작품의 검색, 방문 및 주문 수) · 7점의 Ferdinand Oldewelt 작품 (당사 카탈로그 기준)
요약하자면
A Gypsy Girl in a Church (1917)은(는) Ferdinand Oldewelt의 작품 중 가장 많은 시선을 사로잡는 회화이며, 원작은 로테르담에 위치한 Museum Boijmans Van Beuningen에 소장되어 있습니다. 그다음 시선은 Woman with spinning wheel (1886)와 Gypsy girl (1905)로 향합니다. 우리 카탈로그에 수록된 Ferdinand Oldewelt의 작품 7점 중, 가장 유명한 7점을 소개합니다. 각 작품은 제작 연도, 소장 박물관, 그리고 시대를 초월해 사랑받는 이유와 함께 독창적인 원작으로 제시됩니다.
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…
이 페이지에 있는 작품을 가장 많이 소장하고 있는 4개의 미술관
| 소장 미술관 | 도시 | Ferdinand Oldewelt의 작품 | 이 목록의 작품들 |
|---|---|---|---|
 암스테르담 박물관 |
암스테르담 | 4 | Woman with spinning wheel, Mr. Willem Frederik Hendrik Oldewelt (1895-?), Portrait of an angora cat |
 Museum Boijmans Van Beuningen |
로테르담 | 1 | A Gypsy Girl in a Church |
 Dordrechts Museum |
도르드레흐트 | 1 | Gypsy girl |
 Groninger Museum |
흐로닝언 | 1 | Varkensmarkt on the Grote Markt, Groningen, |
그 시대를 정의하는 오리지널 작품을 만나보려면 연대를 선택하세요.
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, 로테르담. 다음은 Woman with spinning wheel (1886)와 Gypsy girl (1905)입니다.
60세: A Gypsy Girl in a Church은(는) 1917년 작품이며, Ferdinand Oldewelt은(는) 1857년에 태어났습니다.
저희 카탈로그에는 1886년부터 1925년 사이의 Ferdinand Oldewelt 작가의 작품 7점이 수록되어 있습니다.
대부분 암스테르담 박물관 (암스테르담), Museum Boijmans Van Beuningen (로테르담) 및 Dordrechts Museum (도르드레흐트)에 소장되어 있습니다. 위의 박물관 목록에서 전체 목록을 확인하실 수 있습니다.
1880s 동안: 이 페이지의 총 7점의 작품 중 3점이 해당 시기에 제작되었으며, 그중 Woman with spinning wheel점입니다.
이 페이지에서 가장 오래된 작품은 Woman with spinning wheel (1886)이며, 가장 최근 작품은 Mr. Willem Frederik Hendrik Oldewelt (1895-?) (1925)입니다.
Woman with spinning wheel, Mr. Willem Frederik Hendrik Oldewelt (1895-?) 및 Portrait of an angora cat: 암스테르담 박물관, 암스테르담은(는) 이 페이지에 있는 작품 중 4점을 소장하고 있습니다.
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.
