Note:

Andreas Schelfhout was, together with Wijnand Nuyen and Barend Koekkoek, of crucial importance to the development of the Dutch Romantic School in the 19th century.

He was and still is seen as one of the best landscape painters of the period and made this genre popular again, as it had been before, in the 17th century.

His summer- and winter landscapes, seascapes and beach scenes, were, and still are very sought after. His success can be explained in part by his fabulous technique and fine brush; the way he depicts (frozen) rivers, blocks of ice and winter or summer skies is unsurpassed.  This is combined with a great sense form composition.Schelfhout started as a house painter in the framing business of his father. He already started painting pictures in his spare time. After a well-received first exhibition in The Hague, his father sent him to receive proper training to Joannes Breckenheimer (1772–1856), a stage designer, in The Hague.

Schelfhout started as a house painter in the framing business of his father. He already started painting pictures in his spare time. After a well-received first exhibition in The Hague, his father sent him to receive proper training to Joannes Breckenheimer (1772–1856), a stage designer, in The Hague.

He learned not only the technical aspects of painting, but also made detailed studies of the 17th-century Dutch landscape artists Meindert Hobbema and Jacob van Ruisdael.

In 1815, Schelfhout started his own workshop and became a member of the Pulchri studio. Through his technical excellence and sense of composition and his use of naturalistic colours, he soon became famous also outside The Hague. In 1819 he was awarded the Gold Medal at the exhibition in Antwerp. In 1818 he became a member of the Royal Academy for Visual Arts of Amsterdam. He reputation continued to grow and in 1822 he was given the rank of Fourth Class Correspondent of the Royal Dutch Institute. From then on, one exhibition followed after another.

Initially Schelfhout painted mainly summer scenes, beach scenes, and animal paintings. But as his initial winter scenes even had more success, he began to include them in his exhibitions. He was mainly a studio artist, relying on his sketches done en plein air.