It is not surprising that the success of B.C. Koekkoek attracted young painters who wanted to become proficient in landscape painting. In Kleve so many students reported to him that the painter started a kind of painting school in 1841. His book 'Memories and Announcements of a Landscape Painter' (1841) was therefore a kind of textbook, in which Koekkoek once again clearly explained his views on composition and technique. The starting point was to compose an ideal landscape with the most beautiful motifs from nature. Willem Bodeman, only three years younger than Koekkoek, was one of his first students. Koekkoek started in Amsterdam in 1826 with his advice to this painter friend, an accompaniment that he continued in Hilversum and, until 1839, in Kleve. In Bodeman's landscapes and forest views in summer and winter, the influence of his teacher is clearly present in the choice of motifs, composition and detailed elaboration. The painter Frederik Marinus Kruseman was already much more formed when he came to Kleve in 1837. He had been taught by Nicolaas Roosenboom, known for his ice scenes, and afterwards by Jan van Ravenswaaij. There was therefore no question of a master-student relationship between the two painters, partly because Koekkoek had no permanent students before 1841. In Kruseman's work, brushwork and motifs, especially the beautifully branched trees, refer to Koekkoek. From the 1960s onwards, he painted many ice scenes with fantasy buildings in addition to summer landscapes. Koekkoek's brother-in-law A.J. Daiwaille came to Kleve for advice and lessons between 1840 and 1848. His summer and winter landscapes betray the influence of the teacher in subject and composition in particular.