DOI Artikel:
Dec, Dorota: O Rembrandta "Krajobrazie z miłosiernym Samarytaninem"
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.14573#0070
ЬА
I x >К( »ТА DE<
( )\ RI MBR WDI 'S "LANDSCAPE WIT11 II II GOOD SAMARITAN" ONCE AGAIN
Summary
In 2003 2004 a painting b) Rembrandt, the Landscape with the GoodSamaritan from the Czartoryski Muséum al Kraków
was cleansed which restored its former spatialit) blurred by dirty varnish and revealed a séries of détails.
On the occasion of the Rembrandt Year the picture was sent to the exhibition entitled "Rembrandt's Landscapes" held al
Stedelijk Muséum de Lakenhal in Leiden, while at Kraków there was an exhibition-installation organised, consisting of the photo-
graphie émargements of the w hole painting and its détails, ealled On the Way to Jéricho. The painting's clearing and the possibilité
to thoroughl) analyse its enlargements made it possible to probe the world of this piece of art more deeply.
Compared with the lew preserved small individual oil landscapes by Rembrandt, the Krakow's painting distinguishes itself
b\ a high level of drama and features some universal truths also about a man of our times. The evangelical figures are depicted not
oni) "in the background" of the landscape, but they also are related to this dramatic landscape in a we41 thought-out way. The artist
refers to the know n to him pre\ ious depictions of this motif in Netherlandic graphie art and painting, and makes use of certain means
developed there. Hut the choice ofthe spécifie moment from Christ's parable ofthe Good Samaritan appearing in the Gospel ofLuke
was made m a ver) persona! and individual way. Spécial attention merits the originality of uniting ofthe two men: die wounded and
the Samaritan supporting him on the horse as in a one figure, a sign of mercy.
Two elderly persons (and not young lovers) standing at the edge of a forest with scared faces must have witnessed the brutal
rob bery.
In the painting we fmd several time layers: the Biblical one, contemporary to the artist (Dutch reality) and universal (the land-
scape oïtheatrum mundi that can be a background for any event at any given time).
The article concludes with the remarks on the interest in Rembrandt's works in Poland by the end ofthe 18* century and in
the beginning ofthe 19* century, when the picture brought to Poland in 1774 by painter Jan Piotr Norblin landed in the Czartoryskis'
collection, and the piece of information about the only know painting сору of this picture made at that time.
Translated by Grażyna Waluga
I x >К( »ТА DE<
( )\ RI MBR WDI 'S "LANDSCAPE WIT11 II II GOOD SAMARITAN" ONCE AGAIN
Summary
In 2003 2004 a painting b) Rembrandt, the Landscape with the GoodSamaritan from the Czartoryski Muséum al Kraków
was cleansed which restored its former spatialit) blurred by dirty varnish and revealed a séries of détails.
On the occasion of the Rembrandt Year the picture was sent to the exhibition entitled "Rembrandt's Landscapes" held al
Stedelijk Muséum de Lakenhal in Leiden, while at Kraków there was an exhibition-installation organised, consisting of the photo-
graphie émargements of the w hole painting and its détails, ealled On the Way to Jéricho. The painting's clearing and the possibilité
to thoroughl) analyse its enlargements made it possible to probe the world of this piece of art more deeply.
Compared with the lew preserved small individual oil landscapes by Rembrandt, the Krakow's painting distinguishes itself
b\ a high level of drama and features some universal truths also about a man of our times. The evangelical figures are depicted not
oni) "in the background" of the landscape, but they also are related to this dramatic landscape in a we41 thought-out way. The artist
refers to the know n to him pre\ ious depictions of this motif in Netherlandic graphie art and painting, and makes use of certain means
developed there. Hut the choice ofthe spécifie moment from Christ's parable ofthe Good Samaritan appearing in the Gospel ofLuke
was made m a ver) persona! and individual way. Spécial attention merits the originality of uniting ofthe two men: die wounded and
the Samaritan supporting him on the horse as in a one figure, a sign of mercy.
Two elderly persons (and not young lovers) standing at the edge of a forest with scared faces must have witnessed the brutal
rob bery.
In the painting we fmd several time layers: the Biblical one, contemporary to the artist (Dutch reality) and universal (the land-
scape oïtheatrum mundi that can be a background for any event at any given time).
The article concludes with the remarks on the interest in Rembrandt's works in Poland by the end ofthe 18* century and in
the beginning ofthe 19* century, when the picture brought to Poland in 1774 by painter Jan Piotr Norblin landed in the Czartoryskis'
collection, and the piece of information about the only know painting сору of this picture made at that time.
Translated by Grażyna Waluga