DOI Heft:
Część II / Part II. Neerlandica
DOI Artikel:Ziemba, Antoni: Modus rusticus portretu holenderskiego jako model tożsamościowy obywateli Republiki Niderlandzkiej: obraz Govaerta Flincka w Muzeum Narodowym w Warszawie
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.45360#0227
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Neerlandica
as a result of purely economic processes, the dynamic of supply and demand or cost-saving
production. Nor did he need to revert to the snelle techniek to augment the income from his
numerous profitable commissions. He lived in times of economic wellbeing in the Netherlands
and was, himself, rich enough. It seems, therefore, that his choice of the most modest type of
seascape paintings was dictated by a completely different motivation. Being a collector himself,
and aware of the popularity of the paintings by Porcellis and de Vligeur, he wished to create
paintings for collectors. For that reason, he chose the modus of a small format, intimate and
seemingly simple and yet virtuoso painting (e.g., Ships Becalmed, Wallraf-Richartz-Museum,
Cologne) - which fitted the collectors’ model at that time, which by then had moved on from
collecting exclusively “accomplished pieces” to those that revealed their mastery in “spontane-
ous” brushstrokes, and an emotional mood. Van de Cappelle developed a new kind of expres-
sion of landscape representation. He reduced the element of the sea to an aura of complete
calm of the coastal waters and inland rivers and canals. This formula was a novelty (though it
had its prototypes in the paintings by Porcellis and de Vlieger). This novelty, used on a broader
scale and in a multitude of paintings, became popular as an attractive innovation. Van de
Cappelle did not mass-produce his paintings but created smaller quantities, probably hoping
that they would be purchased by connoisseurs from the social and artistic elite; people who
would appreciate the quality of hues and mood instead of seeking any painterly “flamboyance.”
In the Warsaw painting (and the aforementioned associated paintings), Flinck combined
the snelle techniek as a specific convention and artistic invention, with an ideological and propa-
ganda message. In presenting a portrait of a man from the regent class using the model of a
reserved, respectable citizen and in accordance with the ideology of the local “Dutch patriot-
ism of the land,” he created a piece of work that constituted an alternative to the cosmopolitan
and court fashion. Thus, he was able to offer his client a perfect image of “identity,” no doubt
reflecting his status, socio-political position and ideological leanings.
Neerlandica
as a result of purely economic processes, the dynamic of supply and demand or cost-saving
production. Nor did he need to revert to the snelle techniek to augment the income from his
numerous profitable commissions. He lived in times of economic wellbeing in the Netherlands
and was, himself, rich enough. It seems, therefore, that his choice of the most modest type of
seascape paintings was dictated by a completely different motivation. Being a collector himself,
and aware of the popularity of the paintings by Porcellis and de Vligeur, he wished to create
paintings for collectors. For that reason, he chose the modus of a small format, intimate and
seemingly simple and yet virtuoso painting (e.g., Ships Becalmed, Wallraf-Richartz-Museum,
Cologne) - which fitted the collectors’ model at that time, which by then had moved on from
collecting exclusively “accomplished pieces” to those that revealed their mastery in “spontane-
ous” brushstrokes, and an emotional mood. Van de Cappelle developed a new kind of expres-
sion of landscape representation. He reduced the element of the sea to an aura of complete
calm of the coastal waters and inland rivers and canals. This formula was a novelty (though it
had its prototypes in the paintings by Porcellis and de Vlieger). This novelty, used on a broader
scale and in a multitude of paintings, became popular as an attractive innovation. Van de
Cappelle did not mass-produce his paintings but created smaller quantities, probably hoping
that they would be purchased by connoisseurs from the social and artistic elite; people who
would appreciate the quality of hues and mood instead of seeking any painterly “flamboyance.”
In the Warsaw painting (and the aforementioned associated paintings), Flinck combined
the snelle techniek as a specific convention and artistic invention, with an ideological and propa-
ganda message. In presenting a portrait of a man from the regent class using the model of a
reserved, respectable citizen and in accordance with the ideology of the local “Dutch patriot-
ism of the land,” he created a piece of work that constituted an alternative to the cosmopolitan
and court fashion. Thus, he was able to offer his client a perfect image of “identity,” no doubt
reflecting his status, socio-political position and ideological leanings.