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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#0041
(IV, p. 213) there is also a remark about a portrait of the court Maurits Nassau-Siegen
by P. Nason, presented to the Hague "Schildersconfreiie" by its "Hooftman" — B. Bo-
lomey. In 1920 also in the Amsterdam Rijksmuseum there was a copy of the Brussels painting
(by Jan de Baen) provided with the inscription: "Ouwt 75 Jahr memento mori A. 1679"
(cat. 1920, no. 236a).
f) The picture was probably commissioned during the visit of Johan Maurits and the Branden-
burg elector in the Hague on 12—15 May 16661 and was executed in Cleve where Nason
was invited in order to portray the elector couple of Brandenburg and other personalities
connected with them. It was destined for the Gallery of Masters of the Knights of St John
of Jerusalem order in Słońsk (Sonnenburg), the leader of which at that time was Johan
Maurits Nassau-Siegen.
g) The picture remained almost unknown to art historians. G. Galland saw the portrait at
the end of the 19th c. in Słońsk. It hanged in the main hall above the South fire-place and
bore the inscription: "Moritz Fiirst von Nassau des Ritterlichen St. Joh. und Maltheser
Ordens in der Mark etc. Zum Herrenmeister erwahlet 1652, gestorben 1679. Er ist es, der die
Kirche, das Hospital und das Schloss zu Sonneburg erbauen und die verwiistet erhaltenen
Ordens-Giitter herstellen lassen"1. G. Galland stresses the relationship between this picture
and the Portrait of Frederic Wilhelm von Hohenzollern sign. "PNason 1666" from the collection
of the Charlottenburg palące (inv. no. 3312) and points to its high artistic ąuality.
h) G. Galland wrongly considered the discussed picture to be the prototype of J. Houbraken's
engraving, published in J. Wagenaar's, Vaderlandsche Historie, s.L, 1787—97, p. 650. Ac-
cording to Ch. Kramm, Geschiedenis van de beeldende kunsten in de Nederland, op. cit., p. 1185,
this model was to be a picture noted in the catalogue of Pieter Terwesten on page 284: "Een
fraai portret van Maurits, Gouverneur van Brazil, zeer uitvoerig door P. Nason". The most
probable hypothesis seems to be that it concerns an unknown bust representation, maybe
identical with the picture presented at the auction "D. Kindt", the Hague 27.IX.1762, cat.
no. 31, the water colour sketch of which was shown at the exibition "De stadhouder-koning
en zijn tijd", Amsterdam 1950, cat. no. 186 (as a preparatoiy sketch for the Brussels pic-
ture?). Painted in a typical, linear, tectonic and elear manner, the picture distinguishes
itself among other portraits by its iconographic concept, original and rare at that time.
A rough survey of accesories which accompany the count of Nassau-Siegen shows that
the portrait breaks away from the tradition of representative Dutch effigies. Beside the
characteristic motives aWantica (e.g. the helmet, panoply and arcade suggesting a triumphal
arch) there appear also iconographic novelties. This is one of the earliest pompous-heroic
portraits of the programme subordinated to propaganda functions revealing historical
facts connected with the portrayed person. The portrayed stateman, the builder and Field
Marshall of the Dutch army, the leader of the Brandenburg Knights of St John of Jeru-
salem, does not conceal his achievements and merits under traditional symbols and allusions
to the Antiąue, but is openly presenting his glory and elevation, he himself becoming their
symbol and monument. The subject matter of the picture and its character must have been
also influenced by some non-artistic circumstances, i.e. — the picture's destination to the
Gallery of Masters of the Knights of St John of Jerusalem Order in Słońsk, as well as by
impressive victories of the Dutch army under Johan Mauiits command in the war with
Munster (1665—66). Also worth stressing is the fact that the formal shaping of the portrait,
particularly in the rangę of its most important elements, accords with its commemorative
character. The plans of the edifice on the roli represent "de Hoofstad van Brazilien". I would
not be absolutely sure, sińce the plans in the Warsaw picture display a palące property
in a bend of a river surrounded by fortifications. Maybe it is a design of Johan Maurits seat
in Brazil which he made himself as would be suggested by a compass. The plans concern
the Brazilian period of the count's life, this being prooved by the presence of the Negro
35
by P. Nason, presented to the Hague "Schildersconfreiie" by its "Hooftman" — B. Bo-
lomey. In 1920 also in the Amsterdam Rijksmuseum there was a copy of the Brussels painting
(by Jan de Baen) provided with the inscription: "Ouwt 75 Jahr memento mori A. 1679"
(cat. 1920, no. 236a).
f) The picture was probably commissioned during the visit of Johan Maurits and the Branden-
burg elector in the Hague on 12—15 May 16661 and was executed in Cleve where Nason
was invited in order to portray the elector couple of Brandenburg and other personalities
connected with them. It was destined for the Gallery of Masters of the Knights of St John
of Jerusalem order in Słońsk (Sonnenburg), the leader of which at that time was Johan
Maurits Nassau-Siegen.
g) The picture remained almost unknown to art historians. G. Galland saw the portrait at
the end of the 19th c. in Słońsk. It hanged in the main hall above the South fire-place and
bore the inscription: "Moritz Fiirst von Nassau des Ritterlichen St. Joh. und Maltheser
Ordens in der Mark etc. Zum Herrenmeister erwahlet 1652, gestorben 1679. Er ist es, der die
Kirche, das Hospital und das Schloss zu Sonneburg erbauen und die verwiistet erhaltenen
Ordens-Giitter herstellen lassen"1. G. Galland stresses the relationship between this picture
and the Portrait of Frederic Wilhelm von Hohenzollern sign. "PNason 1666" from the collection
of the Charlottenburg palące (inv. no. 3312) and points to its high artistic ąuality.
h) G. Galland wrongly considered the discussed picture to be the prototype of J. Houbraken's
engraving, published in J. Wagenaar's, Vaderlandsche Historie, s.L, 1787—97, p. 650. Ac-
cording to Ch. Kramm, Geschiedenis van de beeldende kunsten in de Nederland, op. cit., p. 1185,
this model was to be a picture noted in the catalogue of Pieter Terwesten on page 284: "Een
fraai portret van Maurits, Gouverneur van Brazil, zeer uitvoerig door P. Nason". The most
probable hypothesis seems to be that it concerns an unknown bust representation, maybe
identical with the picture presented at the auction "D. Kindt", the Hague 27.IX.1762, cat.
no. 31, the water colour sketch of which was shown at the exibition "De stadhouder-koning
en zijn tijd", Amsterdam 1950, cat. no. 186 (as a preparatoiy sketch for the Brussels pic-
ture?). Painted in a typical, linear, tectonic and elear manner, the picture distinguishes
itself among other portraits by its iconographic concept, original and rare at that time.
A rough survey of accesories which accompany the count of Nassau-Siegen shows that
the portrait breaks away from the tradition of representative Dutch effigies. Beside the
characteristic motives aWantica (e.g. the helmet, panoply and arcade suggesting a triumphal
arch) there appear also iconographic novelties. This is one of the earliest pompous-heroic
portraits of the programme subordinated to propaganda functions revealing historical
facts connected with the portrayed person. The portrayed stateman, the builder and Field
Marshall of the Dutch army, the leader of the Brandenburg Knights of St John of Jeru-
salem, does not conceal his achievements and merits under traditional symbols and allusions
to the Antiąue, but is openly presenting his glory and elevation, he himself becoming their
symbol and monument. The subject matter of the picture and its character must have been
also influenced by some non-artistic circumstances, i.e. — the picture's destination to the
Gallery of Masters of the Knights of St John of Jerusalem Order in Słońsk, as well as by
impressive victories of the Dutch army under Johan Mauiits command in the war with
Munster (1665—66). Also worth stressing is the fact that the formal shaping of the portrait,
particularly in the rangę of its most important elements, accords with its commemorative
character. The plans of the edifice on the roli represent "de Hoofstad van Brazilien". I would
not be absolutely sure, sińce the plans in the Warsaw picture display a palące property
in a bend of a river surrounded by fortifications. Maybe it is a design of Johan Maurits seat
in Brazil which he made himself as would be suggested by a compass. The plans concern
the Brazilian period of the count's life, this being prooved by the presence of the Negro
35