DOI Heft:
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DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18863#0055
7.^9 / KM
In the above mentioned article of K. Wróblewska alongside with thc image of Dorothea von
Hollstein was also discussed a Portrait of Ursula Anna Dolina by C. Netseher from 1671,
coming as well from the palące in Gładysze. It seems odd that the author in presenting
photographs of identical fragments of both pictures — did not noticc similarlties in the
way they weie painted. They are particularly apparent in the hair and the face
(cf. footnote 1, figs. 9, 14) painted very softly in a manncr distant from linearism, gently
in parts of warm shadows an firmly in parts of reflcctions, with scrupulous brush strokes,
as for instancc on the almond-shaped eye, lids, identical in both cases. A comparison of
the modelling of the garments in both pictures also would indicate the same hand. Howevei,
as a whole, the portrait of the elector's wife represents inferior artistic qualities against
the portrait of Ursula Anna Dohna. It should be therefore accepted as a workshop picturc
or such, which was only commenced by C. Netseher and finished by an assistant. This would
explain the "plainness" of the background and unfinished details.
A certain conventionality of the discussed portrait, which — I should think — determined,
in a large measure, the hitherto existing attribution, is also noticeable in some of C. Netscher's
works, therefore close to P. Nason, e.g.: Portrait of a woman dated 1668, from the coli. of Mr
Picke Apeldoorn, photo RKD; Portrait of a woman at a fountain, Kunsthandel J. Goudstikker,
Amsterdam, photo RKD.
i) 1. K. Wróblewska, 1963, p. 276—281, 111. 13, 14; 2. Olsztyn 1965, no. 23, iii.
List of bibliographic abbreviations:
Białostocki, Walicki — J. Białostocki, M. Walicki, Europdische Malerei in połnischen Sam-
mlungen, Warschau, 1956.
Cat. MNW 1970 - Catalogue of Paintings, Foreign Schools, National Museum in Warsaw,
Warsaw, 1970, II.
Galeria MO — J. Białostocki, A. Chudzikowski, J. Michałkowa, B. Tyszkiewicz,
Galeria Malarstwa Obcego. Malarstwo niderlandzkie, niemieckie, fla-
mandzkie i holenderskie XV, XVI, XVII wieku, Muzeum Narodowe
w Warszawie, Warszawa, 1954.
Olsztyn 1965 — A. Dobrzycka, K. Wróblewska, Dawny portret w zbiorach Muzeum
Mazurskiego iv Olsztynie. Katalog wystawy, Olsztyn, 1965.
Olsztyn 1971 — Sztuka dawna iv zbiorach muzeów województwa olsztyńskiego. Katalog
wystawy, Olsztyn, 1971.
Portret holenderski — A. Dobrzycka, Portret holenderski XVII wieku w zbiorach polskich.
Katalog ivystaivy, Poznań, 1956.
Sichergestellte Kunst- — Sichergestellte Kunstwerkke im Generalgoiwernement, Krakau, 1941.
werke
Thieme-Becker — U. Thieme, F. Becker, Allgemeines Lexikon der bildenden Kiinstler,
Bd. 15, Leipzig, 1931, p. 350.
Tomkiewicz 1950 — Wł. Tomkiewicz, Catalogue of Paintings Removed from Poland by the
German Authorities during the Years 1939—1954, I, Foreign Paint-
ings, Warsaw, 1950.
Wegner J. — J. Wegner, Nieborów, Warszawa, 1954.
Wróblewska K. 1963 — K. Wróblewska, "Nieznane portrety Nasona i Caspara Netschera
w zbiorach Muzeum Mazurskiego w Olsztynie", Biuletyn Historii
Sztuki, 1963.
Translated by Magdalena Rusek
In the above mentioned article of K. Wróblewska alongside with thc image of Dorothea von
Hollstein was also discussed a Portrait of Ursula Anna Dolina by C. Netseher from 1671,
coming as well from the palące in Gładysze. It seems odd that the author in presenting
photographs of identical fragments of both pictures — did not noticc similarlties in the
way they weie painted. They are particularly apparent in the hair and the face
(cf. footnote 1, figs. 9, 14) painted very softly in a manncr distant from linearism, gently
in parts of warm shadows an firmly in parts of reflcctions, with scrupulous brush strokes,
as for instancc on the almond-shaped eye, lids, identical in both cases. A comparison of
the modelling of the garments in both pictures also would indicate the same hand. Howevei,
as a whole, the portrait of the elector's wife represents inferior artistic qualities against
the portrait of Ursula Anna Dohna. It should be therefore accepted as a workshop picturc
or such, which was only commenced by C. Netseher and finished by an assistant. This would
explain the "plainness" of the background and unfinished details.
A certain conventionality of the discussed portrait, which — I should think — determined,
in a large measure, the hitherto existing attribution, is also noticeable in some of C. Netscher's
works, therefore close to P. Nason, e.g.: Portrait of a woman dated 1668, from the coli. of Mr
Picke Apeldoorn, photo RKD; Portrait of a woman at a fountain, Kunsthandel J. Goudstikker,
Amsterdam, photo RKD.
i) 1. K. Wróblewska, 1963, p. 276—281, 111. 13, 14; 2. Olsztyn 1965, no. 23, iii.
List of bibliographic abbreviations:
Białostocki, Walicki — J. Białostocki, M. Walicki, Europdische Malerei in połnischen Sam-
mlungen, Warschau, 1956.
Cat. MNW 1970 - Catalogue of Paintings, Foreign Schools, National Museum in Warsaw,
Warsaw, 1970, II.
Galeria MO — J. Białostocki, A. Chudzikowski, J. Michałkowa, B. Tyszkiewicz,
Galeria Malarstwa Obcego. Malarstwo niderlandzkie, niemieckie, fla-
mandzkie i holenderskie XV, XVI, XVII wieku, Muzeum Narodowe
w Warszawie, Warszawa, 1954.
Olsztyn 1965 — A. Dobrzycka, K. Wróblewska, Dawny portret w zbiorach Muzeum
Mazurskiego iv Olsztynie. Katalog wystawy, Olsztyn, 1965.
Olsztyn 1971 — Sztuka dawna iv zbiorach muzeów województwa olsztyńskiego. Katalog
wystawy, Olsztyn, 1971.
Portret holenderski — A. Dobrzycka, Portret holenderski XVII wieku w zbiorach polskich.
Katalog ivystaivy, Poznań, 1956.
Sichergestellte Kunst- — Sichergestellte Kunstwerkke im Generalgoiwernement, Krakau, 1941.
werke
Thieme-Becker — U. Thieme, F. Becker, Allgemeines Lexikon der bildenden Kiinstler,
Bd. 15, Leipzig, 1931, p. 350.
Tomkiewicz 1950 — Wł. Tomkiewicz, Catalogue of Paintings Removed from Poland by the
German Authorities during the Years 1939—1954, I, Foreign Paint-
ings, Warsaw, 1950.
Wegner J. — J. Wegner, Nieborów, Warszawa, 1954.
Wróblewska K. 1963 — K. Wróblewska, "Nieznane portrety Nasona i Caspara Netschera
w zbiorach Muzeum Mazurskiego w Olsztynie", Biuletyn Historii
Sztuki, 1963.
Translated by Magdalena Rusek