Оновлено Листопад 2026 · за рейтингом нашої популярності (кількість пошукових запитів, переглядів та замовлень для кожної роботи) · 7 робіт Ferdinand Oldewelt у нашому каталозі
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A Gypsy Girl in a Church (1917) — це картина Ferdinand Oldewelt, яка привертає найбільше уваги; оригінал зберігається в Музей Бойманса-ван-Бёнінгена, Роттердам. Після цього погляд переходить на Woman with spinning wheel (1886) та Gypsy girl (1905). Серед 7 робіт Ferdinand Oldewelt у нашому каталозі ці 7 є найвідомішими: кожна з них — унікальний оригінал із зазначенням року створення, музею та причини її безсмертя.
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…
4 музеїв, у яких зберігається більшість картин із цього списку.
| Музей | Місто | Твори Ferdinand Oldewelt | Картини зі цього списку |
|---|---|---|---|
 Amsterdam Museum |
Амстердам | 4 | Woman with spinning wheel, Mr. Willem Frederik Hendrik Oldewelt (1895-?), Portrait of an angora cat |
 Музей Бойманса-ван-Бёнінгена |
Роттердам | 1 | A Gypsy Girl in a Church |
 Dordrechts Museum |
Дордрехт | 1 | Gypsy girl |
 Groninger Museum |
Гронінген | 1 | Varkensmarkt on the Grote Markt, Groningen, |
Оберіть десятиліття, щоб побачити оригінальний твір, який його визначає.
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), Музей Бойманса-ван-Бёнінгена, Роттердам. Далі йдуть Woman with spinning wheel (1886) та Gypsy girl (1905).
60 років: A Gypsy Girl in a Church датована 1917 роком, а Ferdinand Oldewelt народився(-лася) у 1857.
Наш каталог містить 7 робіт Ferdinand Oldewelt, датованих періодом з 1886 по 1925.
Переважно в Amsterdam Museum (Амстердам), Музей Бойманса-ван-Бёнінгена (Роттердам) та Dordrechts Museum (Дордрехт). У таблиці музеїв вище наведено їхній повний перелік.
У 1880s: 3 із 7 робіт на цій сторінці були створені тоді, серед них Woman with spinning wheel.
На цій сторінці найдавніша робота датована Woman with spinning wheel (1886), а найновіша — Mr. Willem Frederik Hendrik Oldewelt (1895-?) (1925).
Woman with spinning wheel, Mr. Willem Frederik Hendrik Oldewelt (1895-?) та Portrait of an angora cat: Amsterdam Museum, Амстердам зберігає 4 робіт із цієї сторінки.
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.
