DOI Heft:
Nr.1-2
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#0015
3. Pieter Nason, Portrait of a young woman, the Hedstroms Collection (Sweden) (photo
Nationalmuseum in Stockholm)
3
What about 1640 was considered as an anachronism in Amsterdam, was still popular in the
Hague. During the first years of his activity in the Hague, Nason continued the style which
he adapted in the 30s. It would be wrong, however to overlook his efforts to adjust some works
to the local taste.
In Amsterdam a new style of portraying was just arising. It was characterized by the wider
rangę of colours, monumentalized and conventionalized form, by richer costumes and back-
ground formed of landscape or architecture as well as a gesture of the model. In the Hague
still predominated the "patriarchal", severe, and linear style of portrait in the spirit of Mie-
revelt's works. Mierevelt used to show in his portraits a man down to his knees or waist, mostly
in the armour and carrying a gun. This style dominated the whole Hague school of the time,
and its best examples painted by Jan van Ravesteyn found their echo also in the first phase
of Nason's. The best examples are probably the four portraits at VianenGG, similar to Ravesteyn
not only in the composition lay-out, but also in colour, dry and lacking the subtlety of half
tones with the typical brick-red and brown flesh tints. The traces of the old Hague "manner"
can he found in the likenesses of the Regenboogs67 painted as early as 1646.
The reasons for this variety ought to be sought — according to H.E. Gelder's thesis68 —
in the role of particular municipal communities in the shaping of artistic indiyidualities.
66. See: Cat. no. 2.
67. Moes, no. 6289 and 8170; also see W. Martin, op. cii., II, p. 163.
68. H.E. Gelder, "Beoefening vaa de plaatselijke historie", Handelingen van de Maalschappij der Nederlandse Letterkunde
U Lriden, 1928/29, p. 26—43.
9
Nationalmuseum in Stockholm)
3
What about 1640 was considered as an anachronism in Amsterdam, was still popular in the
Hague. During the first years of his activity in the Hague, Nason continued the style which
he adapted in the 30s. It would be wrong, however to overlook his efforts to adjust some works
to the local taste.
In Amsterdam a new style of portraying was just arising. It was characterized by the wider
rangę of colours, monumentalized and conventionalized form, by richer costumes and back-
ground formed of landscape or architecture as well as a gesture of the model. In the Hague
still predominated the "patriarchal", severe, and linear style of portrait in the spirit of Mie-
revelt's works. Mierevelt used to show in his portraits a man down to his knees or waist, mostly
in the armour and carrying a gun. This style dominated the whole Hague school of the time,
and its best examples painted by Jan van Ravesteyn found their echo also in the first phase
of Nason's. The best examples are probably the four portraits at VianenGG, similar to Ravesteyn
not only in the composition lay-out, but also in colour, dry and lacking the subtlety of half
tones with the typical brick-red and brown flesh tints. The traces of the old Hague "manner"
can he found in the likenesses of the Regenboogs67 painted as early as 1646.
The reasons for this variety ought to be sought — according to H.E. Gelder's thesis68 —
in the role of particular municipal communities in the shaping of artistic indiyidualities.
66. See: Cat. no. 2.
67. Moes, no. 6289 and 8170; also see W. Martin, op. cii., II, p. 163.
68. H.E. Gelder, "Beoefening vaa de plaatselijke historie", Handelingen van de Maalschappij der Nederlandse Letterkunde
U Lriden, 1928/29, p. 26—43.
9