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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#0104
98
ANNA SlNKOWSKA
In Lubomirski's drawings collection, the arrangement according to schools follows the
art treatises of de Piles, d'Argenville and Mariette, while acknowledging more detailed
subdivisions of the schools with a distinction of the Flemish school and aberrant order.
The division of schools applied in the inventory of 1869 and inscriptions on the mountings
gave preeminence to the German school (drawings from numbers 299 - 495), followed by
the Italian (drawings 496-628), English (drawings 629-630), French (drawings 631- 694)
and finally the Flemish school (drawings 695-773).^ Flow can this preference in his
arrangement be explained, and why is the German school mentioned Erst and the Flemish
school last? Remarkably, in the inventory of the Polish collector no mention is made of
any Polish school."^ Since the research presented here is conEned mainly to the Flemish
school, only a passing attempt has been made to explain this anomoly.
It was a turbulent time for the Netherlands in the Erst half of the 19th century, due to the
end of the Dutch Republic, instituting of a kingdom during the French occupation and
Enally the successful succession over a protacted period (1830-1838) of an independent
Belgium Rom the Dutch state. With the establishment of the Batavian Republic in 1795,
strength and comfort was sought in the past and interest for the Eourishing 17th-century
'Golden Age' of art revived In Lubomirski's time, considerable change was occurring in
German as well as Dutch (and also Polish) painting.^
Study of the great German masters of the past began in the 18th century, when Frederick
August II (1696-1763) of the Wettings dynasty of Saxony decided to exhibit the royal
collection of paintings in the Dresden Gallery to a broader public.^ Since Frederick
August II, as well as his father Frederick August I (1670-1733) were elected to the Polish
throne (as August II in 1696 and August III in 1733), the Polish court maintained intensive
contact with Dresden.-^ With the establishment of the Dresden Gallery in 1754, the
arrangement according to Artistic schools was applied, if not as yet fully. The catalogue
Napolitaine et Espagnole), Ecole Flamande, Hollandoise et Ailemande ; Ingrid R. VERMEULEN, Dz'gArz'77gUA77zTio-
zy, Amsterdam 2010, p. 132.
^ Refer back to fn. no. 14.
*6 FIGIELA, „Zbiory sztuki książąt Lubomirskich z Przeworska", [in:] ATzzzga -Rgzy&zzgg ^ ToDgg. MatgzaaTy ygyz
w AfMzgr/777 Z^oy-sAg/z w Woziówgg, Kozłówka 2004, p. 268. In Lubomirski's drawing and
engraving collection there were drawings executed by Polish artist's of the 19th century but these were not included in
the boxes containing the actual drawings collection, but rather stored with the engraving maps. The authoir has not been
able to verify this state of affairs.
Ellinoor BERGVELT, "Tussen geschiedenis en kunst. Nederlandse nationale kunstmusea in de negentiende eeuw" in
XaMngttgH, gAgn/Tr? an 7777/^%. 77gi vgrzamg/g?? g/i yrg^g^fgrgn van naO/z-Aza gzz GzzV vaz7 7300 tot Ag&n (Ellinor
BERGVELT, Debora J. MEIJERS and Mieke RENDERS ed.), Zwolle 2005, p. 348. It is also worth noting that Poland
had itself been in political and economic turmoil since the early-1790s, ceasing to exist on the political map of Europe
after 1795. During the rule of the last Polish king, Stanislaus Augustus Poniatowski (1732-1798), investments had been
made to revive architecture and sculpture. The Congress Kingdom of Poland was consumed in the November Uprising,
a bid to secure full independence from Russia. Major developments in Polish as well as Dutch painting took place in the
second half of the 19th century.
^ Dig wgiDgr MaA/Gy GzWtggzy <?gr ggTAżJgz" GzEzy/zzAz. Miżzzg/zzzgz^ Ggyc/zz'cTzDzzra/gz^gz 79. TaAzVzzzzz&zyy,
exh.cat. Muzuem Narodowe w Krakowie, Krakau-Bamberg 2007.
MEIJERS, "Naar een systematische presentatie" in KaOz'zzgiigzz, gaGi/Ar gzz zzzMSva. TTgi vgrzazzzg/gzz g77 yz^gzzigrgzz
vrzzz TM/waiz'a g77 GzzV vazz 7300 tot /zg&zz, Zwolle 2005, p. 263.
^ Ewa MANIKOWSKA, „Paryskie modele kolekcjonerstwa obrazów w Rzeczpospolitej czasów saskich i stanisławow-
skich", [in:] Lg ózgcig Frazz^azT. TvazzcaAz'g zzza/az^Ovo i zysazzgł AT7Z7 ivz'gEr zg zThozUwyoTWc/ą (eds. I. Danielewicz
and J. Guze), exh. Cat. Muzeum Narodowe w Warszawie, Warszawa 2009, p.30; cf. also Do<?y'g<7zzq Azzwzq. Azz/izzra z
óztała w gzas'ac/z zzziz yoTAo-sz/Azg/, exh. cat. (Zamek Królewski w Warszawie) Warszawa 1997.
MEIJERS, WrzrzA aTs zzaizzzzzi Dg 77aAózzzgs'g s'cAzMgzygzzga/gz'z/' z'77 Wszrgzz ozzzW'ggCs' 77Ó0, Ansterdam 1991, pp. 81-82.
ANNA SlNKOWSKA
In Lubomirski's drawings collection, the arrangement according to schools follows the
art treatises of de Piles, d'Argenville and Mariette, while acknowledging more detailed
subdivisions of the schools with a distinction of the Flemish school and aberrant order.
The division of schools applied in the inventory of 1869 and inscriptions on the mountings
gave preeminence to the German school (drawings from numbers 299 - 495), followed by
the Italian (drawings 496-628), English (drawings 629-630), French (drawings 631- 694)
and finally the Flemish school (drawings 695-773).^ Flow can this preference in his
arrangement be explained, and why is the German school mentioned Erst and the Flemish
school last? Remarkably, in the inventory of the Polish collector no mention is made of
any Polish school."^ Since the research presented here is conEned mainly to the Flemish
school, only a passing attempt has been made to explain this anomoly.
It was a turbulent time for the Netherlands in the Erst half of the 19th century, due to the
end of the Dutch Republic, instituting of a kingdom during the French occupation and
Enally the successful succession over a protacted period (1830-1838) of an independent
Belgium Rom the Dutch state. With the establishment of the Batavian Republic in 1795,
strength and comfort was sought in the past and interest for the Eourishing 17th-century
'Golden Age' of art revived In Lubomirski's time, considerable change was occurring in
German as well as Dutch (and also Polish) painting.^
Study of the great German masters of the past began in the 18th century, when Frederick
August II (1696-1763) of the Wettings dynasty of Saxony decided to exhibit the royal
collection of paintings in the Dresden Gallery to a broader public.^ Since Frederick
August II, as well as his father Frederick August I (1670-1733) were elected to the Polish
throne (as August II in 1696 and August III in 1733), the Polish court maintained intensive
contact with Dresden.-^ With the establishment of the Dresden Gallery in 1754, the
arrangement according to Artistic schools was applied, if not as yet fully. The catalogue
Napolitaine et Espagnole), Ecole Flamande, Hollandoise et Ailemande ; Ingrid R. VERMEULEN, Dz'gArz'77gUA77zTio-
zy, Amsterdam 2010, p. 132.
^ Refer back to fn. no. 14.
*6 FIGIELA, „Zbiory sztuki książąt Lubomirskich z Przeworska", [in:] ATzzzga -Rgzy&zzgg ^ ToDgg. MatgzaaTy ygyz
w AfMzgr/777 Z^oy-sAg/z w Woziówgg, Kozłówka 2004, p. 268. In Lubomirski's drawing and
engraving collection there were drawings executed by Polish artist's of the 19th century but these were not included in
the boxes containing the actual drawings collection, but rather stored with the engraving maps. The authoir has not been
able to verify this state of affairs.
Ellinoor BERGVELT, "Tussen geschiedenis en kunst. Nederlandse nationale kunstmusea in de negentiende eeuw" in
XaMngttgH, gAgn/Tr? an 7777/^%. 77gi vgrzamg/g?? g/i yrg^g^fgrgn van naO/z-Aza gzz GzzV vaz7 7300 tot Ag&n (Ellinor
BERGVELT, Debora J. MEIJERS and Mieke RENDERS ed.), Zwolle 2005, p. 348. It is also worth noting that Poland
had itself been in political and economic turmoil since the early-1790s, ceasing to exist on the political map of Europe
after 1795. During the rule of the last Polish king, Stanislaus Augustus Poniatowski (1732-1798), investments had been
made to revive architecture and sculpture. The Congress Kingdom of Poland was consumed in the November Uprising,
a bid to secure full independence from Russia. Major developments in Polish as well as Dutch painting took place in the
second half of the 19th century.
^ Dig wgiDgr MaA/Gy GzWtggzy <?gr ggTAżJgz" GzEzy/zzAz. Miżzzg/zzzgz^ Ggyc/zz'cTzDzzra/gz^gz 79. TaAzVzzzzz&zyy,
exh.cat. Muzuem Narodowe w Krakowie, Krakau-Bamberg 2007.
MEIJERS, "Naar een systematische presentatie" in KaOz'zzgiigzz, gaGi/Ar gzz zzzMSva. TTgi vgrzazzzg/gzz g77 yz^gzzigrgzz
vrzzz TM/waiz'a g77 GzzV vazz 7300 tot /zg&zz, Zwolle 2005, p. 263.
^ Ewa MANIKOWSKA, „Paryskie modele kolekcjonerstwa obrazów w Rzeczpospolitej czasów saskich i stanisławow-
skich", [in:] Lg ózgcig Frazz^azT. TvazzcaAz'g zzza/az^Ovo i zysazzgł AT7Z7 ivz'gEr zg zThozUwyoTWc/ą (eds. I. Danielewicz
and J. Guze), exh. Cat. Muzeum Narodowe w Warszawie, Warszawa 2009, p.30; cf. also Do<?y'g<7zzq Azzwzq. Azz/izzra z
óztała w gzas'ac/z zzziz yoTAo-sz/Azg/, exh. cat. (Zamek Królewski w Warszawie) Warszawa 1997.
MEIJERS, WrzrzA aTs zzaizzzzzi Dg 77aAózzzgs'g s'cAzMgzygzzga/gz'z/' z'77 Wszrgzz ozzzW'ggCs' 77Ó0, Ansterdam 1991, pp. 81-82.