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#0016
4. Pieter Nason, Portrait of a young man, Staatliche Museum zu Berlin (photo from the
Museum)
Pieter Nason's painting sińce the mid 1640s was to be forever connected with the Hague
and its artistic trends at the time; in some cases only could artist find their owa, individual
expression, reaching the level of the most outstandmg works of the Dutch portraiture. The
Warsaw Self-Portrait (cat. No. 5), Portrait of a Young Man with a Medalłion of 164969, Portrait
of a Man with a Skuli70 are far above the standard "production" and prove that Nason was
able to rise over the average. The fact that he did not do it too often points to his pragmatic
disposition, which made him stand off the Dutch smali masters and made him independent
of the situation on the local art market.
Particular stylistic periods that can be distinguished in Pieter Nason's oeuvre, mark the history
of transformations in the taste of the Orange court, of the Hague burghers, and the regentenaristo-
kratie. Every new artistic trend enjoying the recognition in the Hague and each consecutive
leading portrait of the court, be it Orange or the English royalists, are reflected by the changes
in the wsy of painting and at times even in the composition of Nason's pictures. Hence the
uneven level of his works.
In the mid 1640s the portraitists from van Dyck circle dominated in the Hague; this resulted
in a further transformation of Nason's individu?l style. Pirst of all the colour rangę of his pain-
tings changed; the greyish coldness gave way to warm, brown and light amber tones, gradually
69. See: Cat. of the Exibition in Kaiser-Friedrich-Museum, Berlin 31-3-1909, no. 96; also — Cat. of the Hollitscher Collec-
tion, Berlin, 1912.
70. Cat. of the Exhibition Dulwich Pictures... in the National Gallery, London, 1947, no. 24; also: C. Collins Baker,
Nederlandtche portrellen in de Dulwich Gallery, op. cif.
10
Museum)
Pieter Nason's painting sińce the mid 1640s was to be forever connected with the Hague
and its artistic trends at the time; in some cases only could artist find their owa, individual
expression, reaching the level of the most outstandmg works of the Dutch portraiture. The
Warsaw Self-Portrait (cat. No. 5), Portrait of a Young Man with a Medalłion of 164969, Portrait
of a Man with a Skuli70 are far above the standard "production" and prove that Nason was
able to rise over the average. The fact that he did not do it too often points to his pragmatic
disposition, which made him stand off the Dutch smali masters and made him independent
of the situation on the local art market.
Particular stylistic periods that can be distinguished in Pieter Nason's oeuvre, mark the history
of transformations in the taste of the Orange court, of the Hague burghers, and the regentenaristo-
kratie. Every new artistic trend enjoying the recognition in the Hague and each consecutive
leading portrait of the court, be it Orange or the English royalists, are reflected by the changes
in the wsy of painting and at times even in the composition of Nason's pictures. Hence the
uneven level of his works.
In the mid 1640s the portraitists from van Dyck circle dominated in the Hague; this resulted
in a further transformation of Nason's individu?l style. Pirst of all the colour rangę of his pain-
tings changed; the greyish coldness gave way to warm, brown and light amber tones, gradually
69. See: Cat. of the Exibition in Kaiser-Friedrich-Museum, Berlin 31-3-1909, no. 96; also — Cat. of the Hollitscher Collec-
tion, Berlin, 1912.
70. Cat. of the Exhibition Dulwich Pictures... in the National Gallery, London, 1947, no. 24; also: C. Collins Baker,
Nederlandtche portrellen in de Dulwich Gallery, op. cif.
10