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#0020
7. Pieter Nason, Portrait of a Married Couple, The National Galleries of Scotland, Edinburgh
(photo courtesy of the Galleries)
der Helst's impact in the Hague may be a Portrait of a Man in a Hat of 1653 (!), by far the
most bourgeois-like work in Nason's oeuvreal.
Patterns in portraiture appeared towards the end of the 50s of the 17th century and became
a specific canon of the painter's art85. Apart from the heroic portraits, mainly those of rulers,
princes and outstanding noblemen, the canon covered also less important personages (idealized
portraits) and the regentenaristokratie or other eminent persons (scientists, travellers, etc.) as
well as rich citizens (bourgeois portraits).
In idealized portraits of males Nason usually applied a freely standing or even walking model
set against a park or lanscape (fig. 6)86. In women's portraits, besides the traditional scheme,
84. The painting was superficially analyzed by I. Geismeier, op. cit..p. 141, fig. 20. ltis worth adding here that its replica
appeared in 1952, in the Amsterdam antiquarian trade (E. J. van Wisselingh). According to the records of archives RKD
it was signed and dated 1658 and proyided with an inscription Aet. 46.
85. Such a "hierarchy" resembles a strict observation of canons concerning human representations in the art of ancient
Egypt. "Per analogiam" one could look at the "heroic" portraits by Nason as the counterpart of Egyptian works exe-
cuted according to the so-called first class canon.
86. Vide: Portrait of a Man of 1663 (Cat. of. "Koller" auction, op. ci*.).
14
(photo courtesy of the Galleries)
der Helst's impact in the Hague may be a Portrait of a Man in a Hat of 1653 (!), by far the
most bourgeois-like work in Nason's oeuvreal.
Patterns in portraiture appeared towards the end of the 50s of the 17th century and became
a specific canon of the painter's art85. Apart from the heroic portraits, mainly those of rulers,
princes and outstanding noblemen, the canon covered also less important personages (idealized
portraits) and the regentenaristokratie or other eminent persons (scientists, travellers, etc.) as
well as rich citizens (bourgeois portraits).
In idealized portraits of males Nason usually applied a freely standing or even walking model
set against a park or lanscape (fig. 6)86. In women's portraits, besides the traditional scheme,
84. The painting was superficially analyzed by I. Geismeier, op. cit..p. 141, fig. 20. ltis worth adding here that its replica
appeared in 1952, in the Amsterdam antiquarian trade (E. J. van Wisselingh). According to the records of archives RKD
it was signed and dated 1658 and proyided with an inscription Aet. 46.
85. Such a "hierarchy" resembles a strict observation of canons concerning human representations in the art of ancient
Egypt. "Per analogiam" one could look at the "heroic" portraits by Nason as the counterpart of Egyptian works exe-
cuted according to the so-called first class canon.
86. Vide: Portrait of a Man of 1663 (Cat. of. "Koller" auction, op. ci*.).
14