Bulletin du Musée National de Varsovie — 19.1978

Page: 25
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https://digi.ub.uni-heidelberg.de/diglit/bmusvars1978/0031
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selves of its prefiguration: the war of the Batavians with Rome, Claudius Civilis or the very
notion of Batavia116.

Thus understood the subject-matter of the picture allows us to read Pieter Nason's Self-
-portrait as a hint at the Peace of Westphalia, as a document of the painter's "existence"
in this historical moment most important for the Netherlands. Obviously enough, it did not
concern the literał physical presence of the artist when the Treaty was being initiated; this
is rather an expression of the Dutch awareness of the significance of the event and the joy of
the generation which brought it about.

116. Cf. H. van de Waal, "The Iconological Backgiound of Rembxandt's Civilis", Konsthistorisk Tidskrift, XXV, 1956.
pp. 11—25.

CATALOGUE
OF

PAINTINGS SIGNED OR ASCRIBED TO

PIETER NASON
IN THE POLISH STATE COLLECTIONS

I. Scheme of the Catalogue

a) techniąue, materiał, size, property

b) signature and inscriptions

c) provenance

d) state of preservation

e) copies and rephcas

f) circumstances of the commision and execution

g) present knowledge and expert opinions

h) comments and interpretations by the author of the catalogue

i) bibliography

II. Abbreviations

p- —

panel

inv. —

inventory

MMO —

The Masuiian Museum at Olsztyn

MNP —

The National Museum at Poznań

MNW —

The National Museum in Warsaw

No. —

number in this catalogue

o. —

oil

c. -

canvas

d. —

date

rest. —

restored

RKD —

Rijksbureau voor Kunsthistorische Documentatie in the Hague

No. 1

Portrait of a Man (fig. 13)

a) o.p. 70,5x54,5 cm.; MNW, inv. no.: 189039

b) sign.:

"PNason 1641" on the left (PN interlaced)

c) accpńred in Paris by Władysław Markowski between 1850—65; The Tarkowski coli. at Sucha;
deposited in MNW in 1939

d) generally good; the varnish partly dead

e) unknown

f) unknown

25
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