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#0047
that it could be taken for a lance weie it not for his clothes — a typical shepheid costume
applied in Dutch painting in the second half of the 17th c. Analogies between Willem van
Liere's attire and the costume of the young heir of Dohna-Carwinden are evident and there-
fore his interpretation as Daifilio seems fully justified, the more so sińce his bow and arrows
are not only a traditional iconographic motif but are directly related to the two stags seen
in the background. This is an allusion to the very family of Dohna whose coat of arms and
jewel weie two paiis of stag's corns. In this view, the preparations of the young Friedrich
Christoph for the stag hunt become understandable. This is the burgrave Dohna himself
who will be the heir of the property and of the coat of aims and it is only he who is entitled
to the hunting attributes which point out to his aristocratic origin. This painterly metaphor
does not quite oppose the idea of dressing the boy in the garb of Daifilio. In the happy end
of C. P. Hooft's play he becomes Granida's husband and the heir to the throne. The figurę
of Charlotta Eleonora zu Dohna, conforming to the tradition of Granida's representations,
in the context of the above conclusions should be interpreted as Dorilea — the faithful
companion of Daifilo, wearing a costume of a nymph justified here because of the repre-
sented person's aristoc-atic origin and idyllic character of the picture.
1. E. Celińska, "Portret trojga dzieci...", Komunikaty Masursko-Warmińskie, 1967, p. 131—135; 2. Olsztyn 1971, no. 50
01. 38; 3. Cat. of the exhib., Panorama XXX-lecia, 12—26 Deeember 1974, p. 15, ill.
No. 11 Portrait of a Woman of the van Perponcher Family (fig. 22)
a) o.c. 120x96 cm.; MNP inv. no. 752
b) Sign. "PNason 1667" at the right (P and N interlaced). Inscription on the back: "eenfr
van de tantes van de Heeie van Wolphaartsdyk suster van Ferdinand en Willem van Per-
poncher geschildert door P. Nason 1667".
c) acquired by the MNP in 1953 from piivate hands.
d) restored
e) unknown
f) unknown
g) According to A. Dobrżycka the picture is characteristic of the late phase of Nason's work,
similar to the coort portraits of A. Hanneman, from the sixties of the 17th c, particularly
to the portrait of Henriettę Oranje van Dessau (inv. no. 1389/1).
h) In the arrangement of the figurę and gesture, the portrait represents the maturę type of
female portraits by Nason from his late period. Its genesis goes back to the sixties of the
17th c. — see: Portrait of Barbara Thiens until recently in the municipal collection in Amers-
foort and is connected with the conventional portraits by J. Mijtens. This type of portrat
in its fully developed form appeared for the first time in the Portrait of Geertruid van der
Werff (sign. „PNason 1667" — see: cat. of the auction, Christie's, London 6—7-P7-1974,
no. 250, ill.) whose formal and iconographic concept could have been based upon the en-
gravings in C. Ripa Iconologia from 1603, where a similar upward-pointing gesture appears
in the allegory of the Estate, Primavera or Compuntione. This gesture, Italian in its origins
(Botticelli, Leonardo da Vinci, Rafael) might occasionally appear in the Netherlandish
engravings, e.g. in Frans Floris' work. In the discussed picture this gesture lost its indi-
cative character, still present in the portrait of Geertruid van der Werff—and was trans-
formed into a manneristic decorative element, anatomically not very correct, not devoid
41
applied in Dutch painting in the second half of the 17th c. Analogies between Willem van
Liere's attire and the costume of the young heir of Dohna-Carwinden are evident and there-
fore his interpretation as Daifilio seems fully justified, the more so sińce his bow and arrows
are not only a traditional iconographic motif but are directly related to the two stags seen
in the background. This is an allusion to the very family of Dohna whose coat of arms and
jewel weie two paiis of stag's corns. In this view, the preparations of the young Friedrich
Christoph for the stag hunt become understandable. This is the burgrave Dohna himself
who will be the heir of the property and of the coat of aims and it is only he who is entitled
to the hunting attributes which point out to his aristocratic origin. This painterly metaphor
does not quite oppose the idea of dressing the boy in the garb of Daifilio. In the happy end
of C. P. Hooft's play he becomes Granida's husband and the heir to the throne. The figurę
of Charlotta Eleonora zu Dohna, conforming to the tradition of Granida's representations,
in the context of the above conclusions should be interpreted as Dorilea — the faithful
companion of Daifilo, wearing a costume of a nymph justified here because of the repre-
sented person's aristoc-atic origin and idyllic character of the picture.
1. E. Celińska, "Portret trojga dzieci...", Komunikaty Masursko-Warmińskie, 1967, p. 131—135; 2. Olsztyn 1971, no. 50
01. 38; 3. Cat. of the exhib., Panorama XXX-lecia, 12—26 Deeember 1974, p. 15, ill.
No. 11 Portrait of a Woman of the van Perponcher Family (fig. 22)
a) o.c. 120x96 cm.; MNP inv. no. 752
b) Sign. "PNason 1667" at the right (P and N interlaced). Inscription on the back: "eenfr
van de tantes van de Heeie van Wolphaartsdyk suster van Ferdinand en Willem van Per-
poncher geschildert door P. Nason 1667".
c) acquired by the MNP in 1953 from piivate hands.
d) restored
e) unknown
f) unknown
g) According to A. Dobrżycka the picture is characteristic of the late phase of Nason's work,
similar to the coort portraits of A. Hanneman, from the sixties of the 17th c, particularly
to the portrait of Henriettę Oranje van Dessau (inv. no. 1389/1).
h) In the arrangement of the figurę and gesture, the portrait represents the maturę type of
female portraits by Nason from his late period. Its genesis goes back to the sixties of the
17th c. — see: Portrait of Barbara Thiens until recently in the municipal collection in Amers-
foort and is connected with the conventional portraits by J. Mijtens. This type of portrat
in its fully developed form appeared for the first time in the Portrait of Geertruid van der
Werff (sign. „PNason 1667" — see: cat. of the auction, Christie's, London 6—7-P7-1974,
no. 250, ill.) whose formal and iconographic concept could have been based upon the en-
gravings in C. Ripa Iconologia from 1603, where a similar upward-pointing gesture appears
in the allegory of the Estate, Primavera or Compuntione. This gesture, Italian in its origins
(Botticelli, Leonardo da Vinci, Rafael) might occasionally appear in the Netherlandish
engravings, e.g. in Frans Floris' work. In the discussed picture this gesture lost its indi-
cative character, still present in the portrait of Geertruid van der Werff—and was trans-
formed into a manneristic decorative element, anatomically not very correct, not devoid
41