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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#0115
THE FLEMISH SCHOOL IN THE DRAWINGS COLLECTION OF HENRYK LUBOMIRSKI (1777-1850)
109
77. CozvzeAV vgzzz der NcAgz/cAe, Landscape with a road on a hillock, 7d4d, AAzcA cAgzAf wgz^Aed
wdAgz^gy wgzZgreo/ozzz^ 720 v 724 zzzzzz, O^vo/z'zzgzzzr, Rz^oc^gzw, inn 2402 (zzzvgzzZozy 72dP;
77H.422), pAot. OAVo/z'zzezzzzz
Alongside examples of 16th-century sketches in the Flemish school, there is a number
of sketches from the 17th century, such as Trz'tzzupA q/Moz^decuz "by Carel Fabritius (1622-
1654) (ill.6).^ This drawing is placed under Rembrandt's name (annex 2). As mentioned
earlier, Rembrandt is represented by thirty drawings in the Lubomirski inventory, under
whose name the first sketches to be mentioned were Biblical and mythological scenes,
followed by studies of women with children before ending with landscapes and studies of
nature. A fine example of Rembrandt's study in this collection is the crayon drawing
Rozrzuzz ^zzpporZzzzp u eAdd (ill.7).
D'Argenville considered all drawings form nature as a study.-^ Most of the
landscapes under Rembrandt's name are also studies; for example the very sketchy ink
pen drawing HzziWerduzu - view ucrovs* iAe AzuWe/ (ill. 8) or the black crayon detailed
study of a clum of trees by the water titled Cuzzui AeZweez? Azz^/ze^ (ill. 9). The studies can
thus be of different kinds. De Piles wrote of Rembrandt's drawing skills: 7/ zzg /dzz.i
zzgurzzzzuzTzy cAgreAer Juzu ygy (dzvruggy zzz iu curzTciz'ezz De^ygizz, zzz ig Geizi dg
/ Autz^ug (...), zzz gigguzzce <2g Dgyygzzz.* uzzy iruzzvgz^u ^gMigzvzeui iozzi eg pzze /g Auirzrg/ dg
^ezz Puzy cuzzpzz pur zzzzg vzvrg mzugzzzuduu, gyi cupuAA? de prudzzzred^ It was de Piles'
conviction that Rembrandt followed nature too meticulously and, in doing so, failed to
draw the beauty and nobility from it. His opinion was based on the drawings of
^ L'viv (Lwów), Naukowa Biblioteka im. W. Stefanyka, Oddział Rękopisów, kopie Archiwum Ossolineum, Wrocław,
cd-DE-5376, scan. 1-400, AyyzzzzAz oz^gzzzaAzg izzwgTzZgzzYowy ypz'y 1869, inventory number 724, for image, cf: note 52
(catalogue nr. 35) and note 74.
^ D'ARGENVILLE, AAzrgg <7<? Az vz'g Jgy pizzyTgzzzzgzzx pgz'zzZzzrgy, vol. 1, Pads 1762, p. Xviij: „Lgy EzzzJgy rout Jgy
parZz'gy Jgpgzzrgy Jgyyz'zzggy g/'gzprgy zzaZurg, Zgiigy zpzg Jgy ZgZgy, Jgy zzzaz'zzy, Jgy pz'gJy, day Argzy, pzzgi<yzzg/bd zzzgzzzg Jgy
pgurgy gzzZz'grgy, /gy^zzgjgy gnZ7*g7zZ Jazzy ia cozzzpoyz'Zz'on ZoZaL J'zrzi ZaALazz; igy Jrzzpgn'gy, igy azzz'zzzazzA, igy arArgy, igy
p/azzZgy, /gyfigzzry, igypzzz'Zy & /gy payyaggy yozzZ azzyyz g/gy gZzzgigy pzzz y ygrvgzzZ zzzyzzzzzzzgzzZ. "
^ DE PILES, AAfggg & /a vz'g Jgy pgz'zzZrgy, gzvgc Jgy rg/igTz'ozzy yzzr /gzzr ozzvz*aggy, gZ Zrzzz'Zg g/zz pgz'zzZzzrg pazTaz'Z; Jg ia
cozzzzaz'yyazzcg Jgy Jgyygz'zzy; Jg /'zzZzVz'Zg Jgy gyZazzzpgy, Paris 1699, pp. 433-36.
109
77. CozvzeAV vgzzz der NcAgz/cAe, Landscape with a road on a hillock, 7d4d, AAzcA cAgzAf wgz^Aed
wdAgz^gy wgzZgreo/ozzz^ 720 v 724 zzzzzz, O^vo/z'zzgzzzr, Rz^oc^gzw, inn 2402 (zzzvgzzZozy 72dP;
77H.422), pAot. OAVo/z'zzezzzzz
Alongside examples of 16th-century sketches in the Flemish school, there is a number
of sketches from the 17th century, such as Trz'tzzupA q/Moz^decuz "by Carel Fabritius (1622-
1654) (ill.6).^ This drawing is placed under Rembrandt's name (annex 2). As mentioned
earlier, Rembrandt is represented by thirty drawings in the Lubomirski inventory, under
whose name the first sketches to be mentioned were Biblical and mythological scenes,
followed by studies of women with children before ending with landscapes and studies of
nature. A fine example of Rembrandt's study in this collection is the crayon drawing
Rozrzuzz ^zzpporZzzzp u eAdd (ill.7).
D'Argenville considered all drawings form nature as a study.-^ Most of the
landscapes under Rembrandt's name are also studies; for example the very sketchy ink
pen drawing HzziWerduzu - view ucrovs* iAe AzuWe/ (ill. 8) or the black crayon detailed
study of a clum of trees by the water titled Cuzzui AeZweez? Azz^/ze^ (ill. 9). The studies can
thus be of different kinds. De Piles wrote of Rembrandt's drawing skills: 7/ zzg /dzz.i
zzgurzzzzuzTzy cAgreAer Juzu ygy (dzvruggy zzz iu curzTciz'ezz De^ygizz, zzz ig Geizi dg
/ Autz^ug (...), zzz gigguzzce <2g Dgyygzzz.* uzzy iruzzvgz^u ^gMigzvzeui iozzi eg pzze /g Auirzrg/ dg
^ezz Puzy cuzzpzz pur zzzzg vzvrg mzugzzzuduu, gyi cupuAA? de prudzzzred^ It was de Piles'
conviction that Rembrandt followed nature too meticulously and, in doing so, failed to
draw the beauty and nobility from it. His opinion was based on the drawings of
^ L'viv (Lwów), Naukowa Biblioteka im. W. Stefanyka, Oddział Rękopisów, kopie Archiwum Ossolineum, Wrocław,
cd-DE-5376, scan. 1-400, AyyzzzzAz oz^gzzzaAzg izzwgTzZgzzYowy ypz'y 1869, inventory number 724, for image, cf: note 52
(catalogue nr. 35) and note 74.
^ D'ARGENVILLE, AAzrgg <7<? Az vz'g Jgy pizzyTgzzzzgzzx pgz'zzZzzrgy, vol. 1, Pads 1762, p. Xviij: „Lgy EzzzJgy rout Jgy
parZz'gy Jgpgzzrgy Jgyyz'zzggy g/'gzprgy zzaZurg, Zgiigy zpzg Jgy ZgZgy, Jgy zzzaz'zzy, Jgy pz'gJy, day Argzy, pzzgi<yzzg/bd zzzgzzzg Jgy
pgurgy gzzZz'grgy, /gy^zzgjgy gnZ7*g7zZ Jazzy ia cozzzpoyz'Zz'on ZoZaL J'zrzi ZaALazz; igy Jrzzpgn'gy, igy azzz'zzzazzA, igy arArgy, igy
p/azzZgy, /gyfigzzry, igypzzz'Zy & /gy payyaggy yozzZ azzyyz g/gy gZzzgigy pzzz y ygrvgzzZ zzzyzzzzzzzgzzZ. "
^ DE PILES, AAfggg & /a vz'g Jgy pgz'zzZrgy, gzvgc Jgy rg/igTz'ozzy yzzr /gzzr ozzvz*aggy, gZ Zrzzz'Zg g/zz pgz'zzZzzrg pazTaz'Z; Jg ia
cozzzzaz'yyazzcg Jgy Jgyygz'zzy; Jg /'zzZzVz'Zg Jgy gyZazzzpgy, Paris 1699, pp. 433-36.