This panel depicts an unusual subject: a girl sitting on a bench outside against a wall, busily sewing clothes for the doll lying next to her. The artist abstracts the composition somewhat, evident in the girl constructed from flat planes, almost turning her into a doll herself. Cornelia van der Hart was born on December 5, 1851, in Fort de Kock (Bukittinggi), Sumatra. Her father, a colonel and governor, passed away when she was only five years old, and eight years later she also lost her mother. At the age of thirteen, Cornelia came to the Netherlands. Choosing to study at the Hague Academy of Fine Arts was a bold step for a young woman at that time. Nevertheless, Cornelia persisted and studied under Johan Philip Koelman. Between 1877 and 1878, she enrolled in his M.O. course, a professional training program preparing for the state exam to obtain the certificate for Secondary Education. Her determination and talent bore fruit, as in 1879 she was appointed as a drawing teacher for the course for female students, becoming the first female instructor at the Academy. Cornelia van der Hart was known for her versatility as an artist. She painted, drew, and etched figures, cityscapes, village scenes, and landscapes. Her artworks were well received and exhibited at shows of living masters, including the World Exposition of 1889 in Paris, where she won a medal. She also collaborated with renowned art dealers such as Van Wisselingh & Co and Goupil and Cie, gaining international recognition for her art, which found its way into foreign collections. Cornelia was a trailblazer for women in the art world and an inspiration to her fellow artists. As a member of various artists' societies, including the painting society Pulchri Studio, she endured the challenges women faced during that period to be taken seriously as artists. Her involvement in organizing the National Exhibition of Women's Labor in 1898 in The Hague was a clear signal of her commitment to improving the position of women in the workforce and in the art world. The exhibition was organized entirely by women and aimed to break the taboo on paid female labor. As a member of the Organizing Committee, Cornelia contributed to the logistics of the exhibition and was responsible for the artistic presentation of the space dedicated to the colonial section of the East Indies. Cornelia was also involved in Hague initiatives that arose from the success of the exhibition, including the shops Boeatan and De Wekker, businesses run by women. She believed in the importance of recognizing and appreciating women's artworks in a time when male artists were the norm in many disciplines, such as ceramics, furniture, and woodcarving. Condition: Very good. Comes in the original frame. The frame shows minor signs of age. Frame: 25 x 31 cm. Provenance: Purchased from a The Hague art gallery in 1995. The artwork will be meticulously packaged and insured before being sent to you.