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DOI Artikel:Brusewicz, Lech; Nason, Pieter [Ill.]: The paintings by Pieter Nason in polish collections
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18863#0014
2. Pieter Nason, Portrait of Wilhelminę von Waldeck, 1644 (photo Staatliche Museen zu
Berlin)
for the quality of the materiał, point to his acquaintance with the style of Nicolaes Eliasz Pic
kenoy, who was also the master of van der Helst01. There is nothing here, however, in common
with the art of van Revesteyn. His portraits of officers in Mauritshuis as well as his other pic-
tures lack any unification of the observed details into a whole as justly remarked by Irenę
Geismeier62. This particular quality is not absent, however, in the works of Nicolaes Eliasz
Pickenoy, van der Helst, as well as Nason. The secret lies, perhaps, not only in the predomina-
ting role of height in his painting which increases the sculptural character of the portraits,
but also in the specifie giey and green tone which subdues the vividness of other colours and
makes large fragments of paintings look lusterless. This tone appeared already in the works
of C. van der Voort and Th. de Keyser63; it can be found as well in the Nason's Warsaw portrait
from 1641 (vide cat. No. 1) and in the Berlin one — a Portrait of a man from 1668 fuli of elegance;
it can also be found in his still-Iife pictures64.
It therefore seems justified to assume that towards the 30s of the 17th century, Pieter Nason
stayed for a time in the atelier of one of Amsterdam portrait masters, most probably Nicolaes
Eliasz Pickenoy. Reminiscences of Pickenoy's painting particularly of his composition schemes —
may be found in many pictures by Nason from his early Hague period, and even in 1648, as
in his Self-Portrait in the Warsaw collection65.
61. See: J.J. de Gelder, Bartholomeus van der Helst, Rotterdam, 1921; also R. Oldenbourg, Thomas de Keysers Tatigkcit
ais Maler, Leipzig, 1911.
62. I. Geismeier, op. cit., p. 141.
63. R. Oldenbourg, op. cit., p. 17.
64. See: Cat. Bildnisse und Stilleben niederlandischen Maler des 17. Jahrhunderts. Ausslellung im Bode Museum, Berlin, 1968.
65. See: p. 29.
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Berlin)
for the quality of the materiał, point to his acquaintance with the style of Nicolaes Eliasz Pic
kenoy, who was also the master of van der Helst01. There is nothing here, however, in common
with the art of van Revesteyn. His portraits of officers in Mauritshuis as well as his other pic-
tures lack any unification of the observed details into a whole as justly remarked by Irenę
Geismeier62. This particular quality is not absent, however, in the works of Nicolaes Eliasz
Pickenoy, van der Helst, as well as Nason. The secret lies, perhaps, not only in the predomina-
ting role of height in his painting which increases the sculptural character of the portraits,
but also in the specifie giey and green tone which subdues the vividness of other colours and
makes large fragments of paintings look lusterless. This tone appeared already in the works
of C. van der Voort and Th. de Keyser63; it can be found as well in the Nason's Warsaw portrait
from 1641 (vide cat. No. 1) and in the Berlin one — a Portrait of a man from 1668 fuli of elegance;
it can also be found in his still-Iife pictures64.
It therefore seems justified to assume that towards the 30s of the 17th century, Pieter Nason
stayed for a time in the atelier of one of Amsterdam portrait masters, most probably Nicolaes
Eliasz Pickenoy. Reminiscences of Pickenoy's painting particularly of his composition schemes —
may be found in many pictures by Nason from his early Hague period, and even in 1648, as
in his Self-Portrait in the Warsaw collection65.
61. See: J.J. de Gelder, Bartholomeus van der Helst, Rotterdam, 1921; also R. Oldenbourg, Thomas de Keysers Tatigkcit
ais Maler, Leipzig, 1911.
62. I. Geismeier, op. cit., p. 141.
63. R. Oldenbourg, op. cit., p. 17.
64. See: Cat. Bildnisse und Stilleben niederlandischen Maler des 17. Jahrhunderts. Ausslellung im Bode Museum, Berlin, 1968.
65. See: p. 29.
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