DOI issue:
Nr. 1-2
DOI article:Sinkowska, Anna: The Flemish school in the drawings collection of Henryk Lubomirski (1777-1850)
DOI Page / Citation link: https://doi.org/10.11588/diglit.34475#0112
106
ANNA SlNKOWSKA
& Amsterdam-View across the Amstel, c./dd0-/dd/, pe77 <2777/ hAVe 077 G/R^apeT;
/OPv 7 77 777777, Gs*Ao//77677777, Ikfoc/<2U; 777V.6'7dO (h*77Ve77^07y 7($dP.' 7771 722), p^Aot. G^o//77677777
about the taste and style of drawing, and according to him, the Italian taste was related to
classical art, whereas the French taste characterises sublime thoughts and poetic depic-
tion. The Flemish taste is described by d'Argenville as "Tm 77(7t77r6 7776777.6".^ With this
concept of the natural, d'Argenville meant in other words: "m//6 <yM'<?//<?, Amiy 7rop (/6
c/707.X & ^(777^ J*6777A(77*r(7^67* (/6 /'(777/77/776.' /(7 6(777/6777*^66(777(/66 (/*77776 t(7776/76 777776//67T/6, 6^/
^(777 oh/Tc/ prmo/prvf The characteristics of the Flemish school were thus to be found in
the less refined choice of subject, without a classic approach to beauty and colour that
were less soothing to the eye. Whether Lubomirski followed the views of d'Argenville
becomes evident R om a selection of drawings R*om the Flemish school in accordance with
the division of different kinds of drawings adopted by the latter.
In his A/77*6g*6..., d'Argenville recommends comparison within the various schools on
the basis of such drawings as sketches, detailed drawings, studies, academic drawings,
original designs (cartoons) and, furthermore, within the works of each individual
master.^ In this way, it is possible to follow the development of the relevant master's
skills. The works of each painter dealt with concerns three periods and thus is related to
three different Styles: 'A(7 p7*6777767*6 7776777767*6 7/777 /7677/(/6 ^077 772(77t7*6, /6 6(777 /6777/7J Ć/777 6V /(7
/(77*C6 (A? /'(7g6, & /6 t6777p^yb7/7/6 7/777 677 6V /6 (/6c/77i6"; in short, the growth, blossoming
and ultimate decline.^ Given the number of drawings by each individual master of the
Flemish school in the inventory of 1869, two groups of drawings come clearly to the fore;
i.e. that of Rembrandt (1606-1669), numbering thirty, and as many as seventeen drawings
^ D'ARGENVILLE, op. cit., p. XXV.
/Aid., p. XXV.
^ /Aid., pp. XVII-XIX.
3° /Aid., pp. XVII-XIX.
ANNA SlNKOWSKA
& Amsterdam-View across the Amstel, c./dd0-/dd/, pe77 <2777/ hAVe 077 G/R^apeT;
/OPv 7 77 777777, Gs*Ao//77677777, Ikfoc/<2U; 777V.6'7dO (h*77Ve77^07y 7($dP.' 7771 722), p^Aot. G^o//77677777
about the taste and style of drawing, and according to him, the Italian taste was related to
classical art, whereas the French taste characterises sublime thoughts and poetic depic-
tion. The Flemish taste is described by d'Argenville as "Tm 77(7t77r6 7776777.6".^ With this
concept of the natural, d'Argenville meant in other words: "m//6 <yM'<?//<?, Amiy 7rop (/6
c/707.X & ^(777^ J*6777A(77*r(7^67* (/6 /'(777/77/776.' /(7 6(777/6777*^66(777(/66 (/*77776 t(7776/76 777776//67T/6, 6^/
^(777 oh/Tc/ prmo/prvf The characteristics of the Flemish school were thus to be found in
the less refined choice of subject, without a classic approach to beauty and colour that
were less soothing to the eye. Whether Lubomirski followed the views of d'Argenville
becomes evident R om a selection of drawings R*om the Flemish school in accordance with
the division of different kinds of drawings adopted by the latter.
In his A/77*6g*6..., d'Argenville recommends comparison within the various schools on
the basis of such drawings as sketches, detailed drawings, studies, academic drawings,
original designs (cartoons) and, furthermore, within the works of each individual
master.^ In this way, it is possible to follow the development of the relevant master's
skills. The works of each painter dealt with concerns three periods and thus is related to
three different Styles: 'A(7 p7*6777767*6 7776777767*6 7/777 /7677/(/6 ^077 772(77t7*6, /6 6(777 /6777/7J Ć/777 6V /(7
/(77*C6 (A? /'(7g6, & /6 t6777p^yb7/7/6 7/777 677 6V /6 (/6c/77i6"; in short, the growth, blossoming
and ultimate decline.^ Given the number of drawings by each individual master of the
Flemish school in the inventory of 1869, two groups of drawings come clearly to the fore;
i.e. that of Rembrandt (1606-1669), numbering thirty, and as many as seventeen drawings
^ D'ARGENVILLE, op. cit., p. XXV.
/Aid., p. XXV.
^ /Aid., pp. XVII-XIX.
3° /Aid., pp. XVII-XIX.