DOI issue:
Nr.1-2
DOI article:[Brusewicz, Lech]: Catalogue of paintings signed or ascribed to Pieter Nason in the Polish state collections
DOI Page / Citation link: https://doi.org/10.11588/diglit.18863#0044
boy, who in 17th c. iconography symbolized Africa or the South or Southern countries (into
which at that time Brazil was also included). His iconographic signjfican.ee here is however
greater, sińce he symbolized also the dignity of the portrayed person (a particularly popular
motif in Italian portrait painting). The commemorative character of this portiaits permits
one to ascertain that already in the sixties of the XVIIth c. the typological approach
to history, which, according to H. van de Waal, Drie eeuwen vaderlandsche geschied-uitbe-
elding..., 's-Gravenhage, 1952, characterized this entire century, was beginning to give
place to more individual and personal way of the popularization of the national history
of Holland.
i) 1. Georg Galland, Der Grosse Kurfiirst und Morils tan Nassau der Brasiliarter, Frankfurt am/M, 1893, p. 133—134; 2. Cat.
NMW 1970, no. 874.
20. Pieter Nason, Portrait of the Dohna-Carwinden Children, 1667, Muzeum Mazurskie,
Olsztyn (photo Alojzy Kuraczyk)
38
which at that time Brazil was also included). His iconographic signjfican.ee here is however
greater, sińce he symbolized also the dignity of the portrayed person (a particularly popular
motif in Italian portrait painting). The commemorative character of this portiaits permits
one to ascertain that already in the sixties of the XVIIth c. the typological approach
to history, which, according to H. van de Waal, Drie eeuwen vaderlandsche geschied-uitbe-
elding..., 's-Gravenhage, 1952, characterized this entire century, was beginning to give
place to more individual and personal way of the popularization of the national history
of Holland.
i) 1. Georg Galland, Der Grosse Kurfiirst und Morils tan Nassau der Brasiliarter, Frankfurt am/M, 1893, p. 133—134; 2. Cat.
NMW 1970, no. 874.
20. Pieter Nason, Portrait of the Dohna-Carwinden Children, 1667, Muzeum Mazurskie,
Olsztyn (photo Alojzy Kuraczyk)
38