DOI issue:
Nr.1-2
DOI article:Brusewicz, Lech; Nason, Pieter [Ill.]: The paintings by Pieter Nason in polish collections
DOI Page / Citation link: https://doi.org/10.11588/diglit.18863#0012
1. Pieter Nason, Portrait of Maria Bogaert, 1641, Stanford University Museum, Pało Alto, Calif.
(photo courtesy of the Museum)
and dated works by Nason point, however, to a different artistic circle in which the talent of
the painter matured49. One of his works dating from the 30s, a Słill Life with Fruit, with its
atectonic, dynamie and impressive way of painting is so close to the Haarlem works of this
genre, that for a long time it passed for a typical work of Pieter Claesz50. And yet in that period
there were no outstanding specialists of stilleven in the Hague (except Pieter Putter and Jan
de Gheyn the Elder). It does not prove, however, that Nason had learned from the Haarlem
masters. The manner adopted by Pieter Claesz and Heda was known in the north of Holland
(J.A. Rootius), and first of all in Amsterdam, where a group of painters led by Jan Uyl the
Elder and Jan Treek, was active at the time. Also Nason's earliest portraits, painted already
in the Hague, point to Amsterdam. The Portrait of an Old Woman from 164051, The Portrait
of Maria Bogaert52 (fig. 1) or The Portrait of Geertruyd Spiegel53 are closest to the firm, linear
and hardly varied in colour art of Nicolaes Eliasz Pickenoy, based on the excellent techniąue
and simple but faultless drawing. Their artistic level exceedes, however, the typical works of
Pickenoy, which might suggest the authorship of Th. de Keyser, if it was not for the essential
differences in the colour choice particularly striking in technical and "psychological" mastership
49. The first to notice or notify it was W. Martin, op. clt.t II, p. 163.
50. E. Źarnowska La Nature-Morte Hotlandaise, Bruxelles, 1929, no. 28, il.; see also: N. Vroom De schilders van het mono-
chrome banketje, Amsterdam, 1945, p. 114, no. 230.
51. From the Furst zu Lowenstein, Wertheim (1958); photo: RKD.
52. Now in the Californian Stanford Museum; see also: Cat. of "De Fremery" auction, New York (W. Kundle-Cilbcrt)
16-12-1942, no. 36.
53. Until 1942 in de Fremery collection in San Francisco.
6
(photo courtesy of the Museum)
and dated works by Nason point, however, to a different artistic circle in which the talent of
the painter matured49. One of his works dating from the 30s, a Słill Life with Fruit, with its
atectonic, dynamie and impressive way of painting is so close to the Haarlem works of this
genre, that for a long time it passed for a typical work of Pieter Claesz50. And yet in that period
there were no outstanding specialists of stilleven in the Hague (except Pieter Putter and Jan
de Gheyn the Elder). It does not prove, however, that Nason had learned from the Haarlem
masters. The manner adopted by Pieter Claesz and Heda was known in the north of Holland
(J.A. Rootius), and first of all in Amsterdam, where a group of painters led by Jan Uyl the
Elder and Jan Treek, was active at the time. Also Nason's earliest portraits, painted already
in the Hague, point to Amsterdam. The Portrait of an Old Woman from 164051, The Portrait
of Maria Bogaert52 (fig. 1) or The Portrait of Geertruyd Spiegel53 are closest to the firm, linear
and hardly varied in colour art of Nicolaes Eliasz Pickenoy, based on the excellent techniąue
and simple but faultless drawing. Their artistic level exceedes, however, the typical works of
Pickenoy, which might suggest the authorship of Th. de Keyser, if it was not for the essential
differences in the colour choice particularly striking in technical and "psychological" mastership
49. The first to notice or notify it was W. Martin, op. clt.t II, p. 163.
50. E. Źarnowska La Nature-Morte Hotlandaise, Bruxelles, 1929, no. 28, il.; see also: N. Vroom De schilders van het mono-
chrome banketje, Amsterdam, 1945, p. 114, no. 230.
51. From the Furst zu Lowenstein, Wertheim (1958); photo: RKD.
52. Now in the Californian Stanford Museum; see also: Cat. of "De Fremery" auction, New York (W. Kundle-Cilbcrt)
16-12-1942, no. 36.
53. Until 1942 in de Fremery collection in San Francisco.
6