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DOI Artikel:[Brusewicz, Lech]: Catalogue of paintings signed or ascribed to Pieter Nason in the Polish state collections
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18863#0036
No. 6 Portrait of a Man (fig. 15)
a) o.p. 72,5x57 cm.; The National Museum in Cracow, inv. no. 186.
b) unsigned
c) From the Czartoryski Collection: either at Puławy at the beginning of the XIXth c. or
acąuired (?), received (?), may be in Paris by Władysław Czartoryski6.
d) good; restored
e) unknown
f) unknown
g) The old and never changed attribution may suggest an existance at one time, of a Nason's
signature1. S. Komornicki drew our attention to the monochromatism of this painting with
an exception for the face3. According to A. Dobrzycka it was executed in the forties of the
XVIIth c. and is less attractive than other Nason's works of this period, moreover some
influence of Jan de Baen can be traced4.
h) The opinion of A. Dobrzycka seems to result from some misunderstanding. Actually the
portrait was executed between 1648 and 1653, the time when Nason was influenced by
Hanneman and Cornelis van Ceulen (see p. 11). This can be proved by the typical, soft
but quite dynamie manner in painting the hair, face, and garments, warm tints moderated
by olive-brownish undertones and the neutral, partly brightened background varying from
a fiat dark brown to an olive-bluish grey. Also the composition seems to derive from van
Ceulen. Similar forms of face, the distinguished composition and the warm olive-brown
tone appear in the majority of portraits painted by Nason during the discussed period.
Particularly close are: Portrait of Dirck van der Waeyen, of 1647 (the earliest in this manner),
cat. of the sale de Fremery Coli., New York (Gilbert) 16.XII.1942, no. 33, iii.; Portrait of
a Man with a Medallion, of 1649, formerly in the Coli. C. van Hollitscher (Berlin), cat. 1912,
15. Pieter Nason, Portrait of a Man, Muzeum Narodowe, Cracow
30
a) o.p. 72,5x57 cm.; The National Museum in Cracow, inv. no. 186.
b) unsigned
c) From the Czartoryski Collection: either at Puławy at the beginning of the XIXth c. or
acąuired (?), received (?), may be in Paris by Władysław Czartoryski6.
d) good; restored
e) unknown
f) unknown
g) The old and never changed attribution may suggest an existance at one time, of a Nason's
signature1. S. Komornicki drew our attention to the monochromatism of this painting with
an exception for the face3. According to A. Dobrzycka it was executed in the forties of the
XVIIth c. and is less attractive than other Nason's works of this period, moreover some
influence of Jan de Baen can be traced4.
h) The opinion of A. Dobrzycka seems to result from some misunderstanding. Actually the
portrait was executed between 1648 and 1653, the time when Nason was influenced by
Hanneman and Cornelis van Ceulen (see p. 11). This can be proved by the typical, soft
but quite dynamie manner in painting the hair, face, and garments, warm tints moderated
by olive-brownish undertones and the neutral, partly brightened background varying from
a fiat dark brown to an olive-bluish grey. Also the composition seems to derive from van
Ceulen. Similar forms of face, the distinguished composition and the warm olive-brown
tone appear in the majority of portraits painted by Nason during the discussed period.
Particularly close are: Portrait of Dirck van der Waeyen, of 1647 (the earliest in this manner),
cat. of the sale de Fremery Coli., New York (Gilbert) 16.XII.1942, no. 33, iii.; Portrait of
a Man with a Medallion, of 1649, formerly in the Coli. C. van Hollitscher (Berlin), cat. 1912,
15. Pieter Nason, Portrait of a Man, Muzeum Narodowe, Cracow
30