Kortom
Still Life with Dead Rooster and Dove on Chest (1871) is het schilderij van Bartus Korteling dat de meeste aandacht trekt; het origineel bevindt zich in het Museum De Waag, Deventer. Daarna gaat de blik naar Small Street in 'De Hoven' with Two Characteristic Garden Houses (1890) en Ships in the Turfhaven, now Mr. H.F. de Boerlaan (1890). Van de 10 werken van Bartus Korteling in onze catalogus zijn dit de 10 bekendste, elk een uniek origineel gepresenteerd met het jaar, het museum en de reden waarom het blijft voortbestaan.
Top 10 schilderijen van Bartus Korteling, door de ogen van de galerie
De musea waar de originele werken van Bartus Korteling worden bewaard
Het museum met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Bartus Korteling | Schilderijen uit deze lijst |
|---|---|---|---|
| Deventer | 10 | Still Life with Dead Rooster and Dove on Chest, Small Street in 'De Hoven' with Two Characteristic Garden Houses, Ships in the Turfhaven, now Mr. H.F. de Boerlaan |
Bartus Korteling door de decennia heen: elk een uniek origineel
Werken per decennium
Kies een decennium om het origineel te zien dat dit tijdperk definieert.
Small Street in 'De Hoven' with Two Characteristic Garden Houses
Schilderijen van Bartus Korteling: vragen voor de galerie
Wat is het bekendste werk van Bartus Korteling?Onthul het antwoord
Still Life with Dead Rooster and Dove on Chest (1871), Museum De Waag, Deventer. Small Street in 'De Hoven' with Two Characteristic Garden Houses (1890) en Ships in the Turfhaven, now Mr. H.F. de Boerlaan (1890) volgen.
Op welke leeftijd creëerde Bartus Korteling Still Life with Dead Rooster and Dove on Chest?Onthul het antwoord
18 jaar oud: Still Life with Dead Rooster and Dove on Chest dateert uit 1871, en Bartus Korteling werd geboren in 1853.
Welke tien schilderijen van Bartus Korteling zijn het meest bekend?Onthul het antwoord
Still Life with Dead Rooster and Dove on Chest, Small Street in 'De Hoven' with Two Characteristic Garden Houses, Ships in the Turfhaven, now Mr. H.F. de Boerlaan, Still Life with Copper Pan, Onions and Cauliflower, Painting with Boats at Oude Turfhaven, Still Life with Copper Pan, Sunflowers, Raalterkanaal near Zandbeltermolen, Flooded Park, Worpplantsoen en Small Piece of Land near the Steenenkamer, Deventer. De bovenstaande ranglijst vermeldt het jaar en het museum van elk werk.
Hoeveel werken van Bartus Korteling zijn er bekend?Onthul het antwoord
Onze catalogus bevat 10 werken van Bartus Korteling, daterend van 1871 tot 1912.
Waar kunnen de beroemdste originelen van Bartus Korteling worden bekeken?Onthul het antwoord
Voornamelijk in Museum De Waag (Deventer). De bovenstaande museumtabel bevat een volledig overzicht.
In welke periode creëerde Bartus Korteling de bekendste schilderijen?Onthul het antwoord
In 1900s: 5 van de 10 werken op deze pagina werden toen gemaakt, waaronder Still Life with Copper Pan, Onions and Cauliflower.
Welk beroemd schilderij van Bartus Korteling is de vroegste, en welke de laatste?Onthul het antwoord
Op deze pagina is het vroegste Still Life with Dead Rooster and Dove on Chest (1871) en het laatste Small Piece of Land near the Steenenkamer, Deventer (1912).
Welke originele werken van Bartus Korteling kan ik zien in het Museum De Waag?Onthul het antwoord
Still Life with Dead Rooster and Dove on Chest, Small Street in 'De Hoven' with Two Characteristic Garden Houses en Ships in the Turfhaven, now Mr. H.F. de Boerlaan: het Museum De Waag, Deventer herbergt 10 van de werken op deze pagina.
Bartus Korteling: een portret van de kunstenaar
The Legacy of the Smedenstraat
In the narrow streets of Deventer, where the scent of pigment and oil once lingered in the air, the Korteling name was woven into the very fabric of the city's creative life. Born in 1853, Bartus Korteling emerged from a lineage of craftsmen who understood the alchemy of color. His family had established a foundation in the Smedenstraat, where his forefather, Gerhard, spent his days preparing paints by hand and preserving the ancient methods of the trade. This upbringing meant that for Bartus, art was not a distant pursuit but a tangible, daily reality shaped by the textures of raw materials and the discipline of the workshop.
He did not merely inherit a trade; he inherited a way of seeing. While his ancestors focused on the production of the medium itself, Bartus sought to master the application of it. His life was deeply rooted in the local community, a man of the city who moved through its cultural circles with a quiet, steady purpose. He became a figure of influence, not through loud proclamations, but through the steady guidance he offered to those seeking to master the line and the shadow.
A Teacher and a Practitioner
Bartus found his calling in the delicate balance between instruction and creation. He became a teacher of drawing in Deventer, a role that allowed him to shape the hands and eyes of many young talents. His influence was felt in the studios and academies where he imparted the technical rigors of his craft. He possessed a deep understanding of form, a skill honed by a lifetime spent surrounded by the tools of the painter.
His personal work reflected the shifting tides of the era, finding its place within the stylistic echoes of the Hague School. He worked with a precision that spoke of his lineage, yet his hand was his own. His output was characterized by:
- A mastery of draftsmanship that informed his teaching.
- A commitment to the high standards of the Dutch tradition.
- A technical proficiency rooted in the family's history of pigment making.
The Quiet Influence of a Family Line
The significance of Bartus lies in the continuity he provided for the generations that followed. He was a bridge between the old world of the artisan-painter and the modern era of the professional artist. His son, Willem, would eventually take the family's artistic ambitions even further, becoming the first to pursue the life of a full-time artist. This progression was built upon the technical foundations and the local respect earned by Bartus during his long life in the Netherlands.
When he passed away in 1930, he left behind more than just sketches and canvases; he left a legacy of craftsmanship that had been refined over decades. His life was a testament to the idea that art is often a matter of lineage, a slow accumulation of skill passed from father to son, from the workshop to the academy, and from the hand to the heart of a city.





