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.
PAINTINGS SIGNED OR ASCRIBED TO
IN THE POLISH STATE COLLECTIONS
I. Scheme of the Catalogue
a) techniąue, materiał, size, property
b) signature and inscriptions
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
The Masuiian Museum at Olsztyn
The National Museum at Poznań
The National Museum in Warsaw
number in this catalogue
Rijksbureau voor Kunsthistorische Documentatie in the Hague
Portrait of a Man (fig. 13)
a) o.p. 70,5x54,5 cm.; MNW, inv. no.: 189039
"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