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DOI Artikel:Sinkowska, Anna: The Flemish school in the drawings collection of Henryk Lubomirski (1777-1850)
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.34475#0100
94
ANNA SlNKOWSKA
Prints Room. The inventory from 1869, not having been thus far a subject of scholarly
research, is discussed in the context of 18th-century art theoryd
Crms/Jcm/Am <?/ /7m u/7 q/ J/v/rc///^ /// J/u /&// ////J m /7m //u^/7//////g q/ J/u /9J/ cuA/m/ ms
Roger de Piles (1635 -1709) refers to the art of drawing in the Cozmy Jg p/u/nR/ru p?ur
p^rmc/RU^ (1708) as „la chef des beaux-arts"J His book, which was not exclusively intend-
ed for artists and art lovers, but equally art collectors, had as its aim the development of
connoisseurship, seeking to encourage and increase knowledge about art. It was de Piles'
belief that a general opinion about the art of drawing could be formed by learning to judge
such artistic work. This generalised opinion thus proved indispensable in judging the qual-
ities of drawing as it forms a part of painting. This 'scientific' approach to art would then
stimulate the purveyor to discover the clean and striking aspect of art for his or herself
alongside those masters considered to be worthy of preference.^ Towards the end of his
book, de Piles, in his summary appraisal referred to as , JLr/ Ru/mzcu defined
four criteria in painting (i.e. composition, design, colour and expression) as a means of
putting the art works of famous masters to the test based precisely on these categories.^
Given the list of 56 major painters, de Piles'choices included the Italian masters, and in
particular the painters from Rome, with Raphael placed at the top of his list. Among the
painters of the Low Countries, de Piles names only Rembrandt, Rubens and Teniers J
De Piles passed away in 1709, but <7e p^gz'nA/rg ppem pvAzczpay was read and
reprinted throughout the 18th and beginning of the 19th centuries J The notebook of an-
other Polish collector, Count Stanisław Kostka Potocki (1755-1821), proves that the schol-
arly approach to art adopted by de Piles was followed very closely. On two pages of his
&g77og7v/p/7/g Jay Rg/n/Tay, Potocki undertook to write a general review according to the
de Piles system of assessment, with the names of the painters arranged in alphabetical
order, thus beginning with Dfirer to end on Tadeo Zuccaro. Potocki also greatly favoured
Italian masters whose number prevailed above all other groupings. In four corresponding
columns, the same number of differing criteria were indicated. Potocki added one further
column: Jay 7p?ar Jony' in order to clearly record the total score for each master. ^ *
4 Heiena BLUMOWNA, „Kolekcja rycin i rysunków Henryka Lubomirskiego w zbiorach Zakładu Narodowego im.
Ossolińskich", Poczazł Zał/aAz Anodowego zza. Oyyo/zayLc/z , t. 5, Wrocław 1957, pp. 101-116, this source was
mentioned by Blumówna but not analysed.
^ Rogier DE PILES, Cozzry & Pgz'aA^g par pzi'aezpgy, Paris 1766, p. 117, ,J/ gy/ /a c/gf Ay AazzA-ar/y, Last /zz; <pzz
Aazzg ga/rgg azzA aa/rgy parAy A /a Rgz'aPzrg, /'zayAzzagat A aoy AzacayAaAay g/ /a /zzzaz'grg A ao/rg ga/gaAzaga/".
^ Old-Dutch translation of: DE PILES, Cozzry A Pgz'azPrgparprz'aczpgy, by J. de Jongh (Sez^gAaggrA Zzgyc/zoMwz'ag Ar
yc/zz/AzAzzaA), Amsterdam 1756, p. 8, of which there are seven 'parts' of immediate importance to assessing a drawing,
namely: correctness, good taste, 'elegance', characteristics, diversity, expression and perspective.
^ Cf.: DE PILES, Cozrry A Rgz'aPzrg par prz'aczpgy, Paris, op. cit., p. 387. (,,Jg a'az porfg zaoa p'z/ggazga/ <pzzg yzzr /gy
Peza/rgy /gy p/zzy ccaazzy, & p'az z/zvz'yg /a Pgz'a/rgy ga gaatrg cc/oaagy, cozazag ga ygy par Ay /gy p/ay gyygaAAy, yavoz'zi
/a cozapoyzP/oa, /g Ayyg/a, /g co/orz'y, & /'gAprgyyz'oa.").
^ 7/zz'T, p. 388, ,,(9a azzrazPpa cozzzprgaAgparzaz /gy Pg/aYrgy /gyp/ay coaaay, p/zzyzgzzryf/azaaaA <pzzz oat rgprgygatg avgc
zzag gA/rgrag/zAZ/A /a vgrzYg A /a aatarg <L pzzz oa/ ga /Y'atg//z'ggacg 7'aa gAce//gat co/orzy; araz'y parcg qzzY'/y oat ga
zaaavaz'y goa/ Jaay /gy aa/rgy par/z'gy, oa a era pzzY7 va/ozY zaz'gMA gafaz'rg aag c/ayyg ygpargg."
^ Thomas PUTTFARKEN, Poggr A Pz'/gy' P/zgozy o/^rY London 1985, p. IX.
Warszawa, Archiwum Główne Akt Dawnych, archiwum APP 229, notebook of S.K. Potocki, Aggaacgaap/A Ay
Pg/aAgy, for image of this pages, cf.: catalogue XazAzz'ay /uAłc/z SYaaz'y/awa XoyAz Po/ocłzego, Muzeum Narodowe
Warszawa 2006, pp. 96-97, 236.
'' 7/zzY/., pp. 96-97, all these names and scores corresponds to de Piles' system of evaluation, whereby Dtirer is 'assessed'
ANNA SlNKOWSKA
Prints Room. The inventory from 1869, not having been thus far a subject of scholarly
research, is discussed in the context of 18th-century art theoryd
Crms/Jcm/Am <?/ /7m u/7 q/ J/v/rc///^ /// J/u /&// ////J m /7m //u^/7//////g q/ J/u /9J/ cuA/m/ ms
Roger de Piles (1635 -1709) refers to the art of drawing in the Cozmy Jg p/u/nR/ru p?ur
p^rmc/RU^ (1708) as „la chef des beaux-arts"J His book, which was not exclusively intend-
ed for artists and art lovers, but equally art collectors, had as its aim the development of
connoisseurship, seeking to encourage and increase knowledge about art. It was de Piles'
belief that a general opinion about the art of drawing could be formed by learning to judge
such artistic work. This generalised opinion thus proved indispensable in judging the qual-
ities of drawing as it forms a part of painting. This 'scientific' approach to art would then
stimulate the purveyor to discover the clean and striking aspect of art for his or herself
alongside those masters considered to be worthy of preference.^ Towards the end of his
book, de Piles, in his summary appraisal referred to as , JLr/ Ru/mzcu defined
four criteria in painting (i.e. composition, design, colour and expression) as a means of
putting the art works of famous masters to the test based precisely on these categories.^
Given the list of 56 major painters, de Piles'choices included the Italian masters, and in
particular the painters from Rome, with Raphael placed at the top of his list. Among the
painters of the Low Countries, de Piles names only Rembrandt, Rubens and Teniers J
De Piles passed away in 1709, but <7e p^gz'nA/rg ppem pvAzczpay was read and
reprinted throughout the 18th and beginning of the 19th centuries J The notebook of an-
other Polish collector, Count Stanisław Kostka Potocki (1755-1821), proves that the schol-
arly approach to art adopted by de Piles was followed very closely. On two pages of his
&g77og7v/p/7/g Jay Rg/n/Tay, Potocki undertook to write a general review according to the
de Piles system of assessment, with the names of the painters arranged in alphabetical
order, thus beginning with Dfirer to end on Tadeo Zuccaro. Potocki also greatly favoured
Italian masters whose number prevailed above all other groupings. In four corresponding
columns, the same number of differing criteria were indicated. Potocki added one further
column: Jay 7p?ar Jony' in order to clearly record the total score for each master. ^ *
4 Heiena BLUMOWNA, „Kolekcja rycin i rysunków Henryka Lubomirskiego w zbiorach Zakładu Narodowego im.
Ossolińskich", Poczazł Zał/aAz Anodowego zza. Oyyo/zayLc/z , t. 5, Wrocław 1957, pp. 101-116, this source was
mentioned by Blumówna but not analysed.
^ Rogier DE PILES, Cozzry & Pgz'aA^g par pzi'aezpgy, Paris 1766, p. 117, ,J/ gy/ /a c/gf Ay AazzA-ar/y, Last /zz; <pzz
Aazzg ga/rgg azzA aa/rgy parAy A /a Rgz'aPzrg, /'zayAzzagat A aoy AzacayAaAay g/ /a /zzzaz'grg A ao/rg ga/gaAzaga/".
^ Old-Dutch translation of: DE PILES, Cozzry A Pgz'azPrgparprz'aczpgy, by J. de Jongh (Sez^gAaggrA Zzgyc/zoMwz'ag Ar
yc/zz/AzAzzaA), Amsterdam 1756, p. 8, of which there are seven 'parts' of immediate importance to assessing a drawing,
namely: correctness, good taste, 'elegance', characteristics, diversity, expression and perspective.
^ Cf.: DE PILES, Cozrry A Rgz'aPzrg par prz'aczpgy, Paris, op. cit., p. 387. (,,Jg a'az porfg zaoa p'z/ggazga/ <pzzg yzzr /gy
Peza/rgy /gy p/zzy ccaazzy, & p'az z/zvz'yg /a Pgz'a/rgy ga gaatrg cc/oaagy, cozazag ga ygy par Ay /gy p/ay gyygaAAy, yavoz'zi
/a cozapoyzP/oa, /g Ayyg/a, /g co/orz'y, & /'gAprgyyz'oa.").
^ 7/zz'T, p. 388, ,,(9a azzrazPpa cozzzprgaAgparzaz /gy Pg/aYrgy /gyp/ay coaaay, p/zzyzgzzryf/azaaaA <pzzz oat rgprgygatg avgc
zzag gA/rgrag/zAZ/A /a vgrzYg A /a aatarg <L pzzz oa/ ga /Y'atg//z'ggacg 7'aa gAce//gat co/orzy; araz'y parcg qzzY'/y oat ga
zaaavaz'y goa/ Jaay /gy aa/rgy par/z'gy, oa a era pzzY7 va/ozY zaz'gMA gafaz'rg aag c/ayyg ygpargg."
^ Thomas PUTTFARKEN, Poggr A Pz'/gy' P/zgozy o/^rY London 1985, p. IX.
Warszawa, Archiwum Główne Akt Dawnych, archiwum APP 229, notebook of S.K. Potocki, Aggaacgaap/A Ay
Pg/aAgy, for image of this pages, cf.: catalogue XazAzz'ay /uAłc/z SYaaz'y/awa XoyAz Po/ocłzego, Muzeum Narodowe
Warszawa 2006, pp. 96-97, 236.
'' 7/zzY/., pp. 96-97, all these names and scores corresponds to de Piles' system of evaluation, whereby Dtirer is 'assessed'