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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#0107
THE FLEMISH SCHOOL IN THE DRAWINGS COLLECTION OF HENRYK LUBOMIRSKI (1777-1850)
101
rPimuggs had already referred m explicit terms to a German school while reordering the
prints collection of August III. Lubomirski possessed a later edition catalogue of the
Dresden Gallery and this could mean that he followed closely the developments of the
German school.^
An event in Vienna in 1783 most certainly played an additional role in the prevalence
of the Flemish and German school in establishing Lubomirski's drawings collection. The
German school was presented for the first time in that city's Imperial Gallery as a separate
school alongside the Dutch and Flemish artists.^ The school, defined as VigJgr/dnJAcAe,
contained mainly the works of such 17th-century masters as Van Dyck, Rubens and
Teniers, while the German school was presented as linear development of the art from
approximately 1350, followed by the art from the time of emperors Maximilian I(1459-
1519) and Rudolf II (1552-1612), as well as, in the final count, contemporary German
masters V This is perhaps the reason why Lubomirski mentions the German school sepa-
rately and, in contrast with de Piles, d'Argenville,and Mariette ,who had begun their
reviews with the Italian school, records it first in his inventory.
It is interesting to note how Cornelis Ploos van Amstel (1726-1798), a well-known
18th-century Dutch collector, presented in a letter to Jacob de Vos dated 31st January,
1792 the arrangement of his own drawings collection. Here once again are five schools
where the German school is named separately, although in second place to the Italian one.
The school of a temporarily existing United Netherlands (i.e. of the Dutch provinces in
unision with those of a future independent Belgium) is indicated as third, followed by the
French and English schools.-^ The term 'German school' seems to be recognised in the
circle of collectors at the end of the 18th and the beginning of the 19th centuries. That this
artistic school had clear recognition is obvious Rom the fact that during this time Polish
painters pursued their education not only in Rome, Vienna and Paris but equally so in
Dresden, Berlin and MunichA
The explicit arrangement of the drawing collection in which the contemporary devel-
opment of art is evident emphasises Lubomirski's interest in and knowledge of it; a fact
conErmed by several publications Rom his book collection, such as rAs Ph/eunv
axposbav Avrs' /u gu/u/iT /vurVu <A 7)/wsv7u7? (1843), Vb/icu das* Arb/uunv uvyo.sTas' Am,s' A
77ins*aa ray A A /Aav, VotAa Aa AibVunv arpasbas' Anus' A gaA/A A/ /ma'A /vyA Pails'
(1816), (AAn'a A PAranca (1830), DasaApPcw <2a A (AAAa rayaA <2a PAraaaa (1783)
and GaAAa aTLava77Aaa7^gA Scrutiny of the motives behind his connoisseurship allows
MAggg A /a vie As PgmAs A??! A lAArnx co/nposgut in GrA/A TAcfwiA A DrgsA, Dresde 1782: Ecole
dTtalie (Ecole Florentine, Ecole Romaine, Ecole Venitienne, Ecole Lombarde, Peintres Genois, Peintres Espagnols),
Ecole Francoise et Ecole Allemande, Flamande et Hollandoise; L'viv (Lwów), W. Stefanyk Library of the Ukrainian
Academy of Sciences, Lviv, Oddział Rękopisów, kopie Archiwum Ossolineum, Wrocław, cd-DE-5376, 1-400, Z/rwenln-
rzowy sp/s 1870, Bibliotheek, inventory number 822: CArA^Mg As rAAaMv A /a grAn'g g/gcforAg o DrgsAn, 1804.
34 MEIJERS, "Naar...", op. cit.,p. 277
33 AA, p. 278.
33 Michiel C. PLOMP, verza777eA /Ag-ggMwsgPoAznAg ngrzamg/am-s wm tgAnhigen gn coAc-
A, 2 vols, Paris/ Bussum 2001, p. 76.
"" D/g /ng/s/g/* 4A/g/Los, G/^oLggrs, Ar ggAi/A;^ G/g^y/nsE. Af//77c/H7g/^ GgscA/cA/s/na/grg/ As 79. Jn/irAMnAr/s,
exh.cat. Muzeum Narodowe w Krakowie, Kraków-Bamberg 2007; Jolanta CZERNIEWSKA i Jolanta TALBIERSKA,
A/7 Fg/As P/wowarsł/ (7794-7V9), Warszawa 2009, p. 114
33 L'viv (Lwów), Naukowa Biblioteka im. W. Stefanyka, Oddział Rękopisów, kopie Archiwum Ossolineu, Wrocław, cd-
DE-5376, scan. 1-400, 7nwgn A-zcwy spis 1870, Bibliotheek, scan 200-201, CAćAgng As Pi/Amnr A A grAr/g g/gc-
7om/g a DrgsAn (1804, inv. nr. 822), DgscnpfZon As 7a9/gaMY, A pa/ais royA (Paris 1727, inv. m. 815), GrAr/g A
LMvg777ÓOM/g (inv. nr. 826), FAgncg (inv. nr. 832).
101
rPimuggs had already referred m explicit terms to a German school while reordering the
prints collection of August III. Lubomirski possessed a later edition catalogue of the
Dresden Gallery and this could mean that he followed closely the developments of the
German school.^
An event in Vienna in 1783 most certainly played an additional role in the prevalence
of the Flemish and German school in establishing Lubomirski's drawings collection. The
German school was presented for the first time in that city's Imperial Gallery as a separate
school alongside the Dutch and Flemish artists.^ The school, defined as VigJgr/dnJAcAe,
contained mainly the works of such 17th-century masters as Van Dyck, Rubens and
Teniers, while the German school was presented as linear development of the art from
approximately 1350, followed by the art from the time of emperors Maximilian I(1459-
1519) and Rudolf II (1552-1612), as well as, in the final count, contemporary German
masters V This is perhaps the reason why Lubomirski mentions the German school sepa-
rately and, in contrast with de Piles, d'Argenville,and Mariette ,who had begun their
reviews with the Italian school, records it first in his inventory.
It is interesting to note how Cornelis Ploos van Amstel (1726-1798), a well-known
18th-century Dutch collector, presented in a letter to Jacob de Vos dated 31st January,
1792 the arrangement of his own drawings collection. Here once again are five schools
where the German school is named separately, although in second place to the Italian one.
The school of a temporarily existing United Netherlands (i.e. of the Dutch provinces in
unision with those of a future independent Belgium) is indicated as third, followed by the
French and English schools.-^ The term 'German school' seems to be recognised in the
circle of collectors at the end of the 18th and the beginning of the 19th centuries. That this
artistic school had clear recognition is obvious Rom the fact that during this time Polish
painters pursued their education not only in Rome, Vienna and Paris but equally so in
Dresden, Berlin and MunichA
The explicit arrangement of the drawing collection in which the contemporary devel-
opment of art is evident emphasises Lubomirski's interest in and knowledge of it; a fact
conErmed by several publications Rom his book collection, such as rAs Ph/eunv
axposbav Avrs' /u gu/u/iT /vurVu <A 7)/wsv7u7? (1843), Vb/icu das* Arb/uunv uvyo.sTas' Am,s' A
77ins*aa ray A A /Aav, VotAa Aa AibVunv arpasbas' Anus' A gaA/A A/ /ma'A /vyA Pails'
(1816), (AAn'a A PAranca (1830), DasaApPcw <2a A (AAAa rayaA <2a PAraaaa (1783)
and GaAAa aTLava77Aaa7^gA Scrutiny of the motives behind his connoisseurship allows
MAggg A /a vie As PgmAs A??! A lAArnx co/nposgut in GrA/A TAcfwiA A DrgsA, Dresde 1782: Ecole
dTtalie (Ecole Florentine, Ecole Romaine, Ecole Venitienne, Ecole Lombarde, Peintres Genois, Peintres Espagnols),
Ecole Francoise et Ecole Allemande, Flamande et Hollandoise; L'viv (Lwów), W. Stefanyk Library of the Ukrainian
Academy of Sciences, Lviv, Oddział Rękopisów, kopie Archiwum Ossolineum, Wrocław, cd-DE-5376, 1-400, Z/rwenln-
rzowy sp/s 1870, Bibliotheek, inventory number 822: CArA^Mg As rAAaMv A /a grAn'g g/gcforAg o DrgsAn, 1804.
34 MEIJERS, "Naar...", op. cit.,p. 277
33 AA, p. 278.
33 Michiel C. PLOMP, verza777eA /Ag-ggMwsgPoAznAg ngrzamg/am-s wm tgAnhigen gn coAc-
A, 2 vols, Paris/ Bussum 2001, p. 76.
"" D/g /ng/s/g/* 4A/g/Los, G/^oLggrs, Ar ggAi/A;^ G/g^y/nsE. Af//77c/H7g/^ GgscA/cA/s/na/grg/ As 79. Jn/irAMnAr/s,
exh.cat. Muzeum Narodowe w Krakowie, Kraków-Bamberg 2007; Jolanta CZERNIEWSKA i Jolanta TALBIERSKA,
A/7 Fg/As P/wowarsł/ (7794-7V9), Warszawa 2009, p. 114
33 L'viv (Lwów), Naukowa Biblioteka im. W. Stefanyka, Oddział Rękopisów, kopie Archiwum Ossolineu, Wrocław, cd-
DE-5376, scan. 1-400, 7nwgn A-zcwy spis 1870, Bibliotheek, scan 200-201, CAćAgng As Pi/Amnr A A grAr/g g/gc-
7om/g a DrgsAn (1804, inv. nr. 822), DgscnpfZon As 7a9/gaMY, A pa/ais royA (Paris 1727, inv. m. 815), GrAr/g A
LMvg777ÓOM/g (inv. nr. 826), FAgncg (inv. nr. 832).