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ENGRAVING ACTIVITY OF JEAN-PIERRE NORBLIN IN THE BACKGROUND OF THE 18TH-CENTURY REMBRANDTING GRAPHICS (Tworczosc rytownicza Jana Piotra Norblina na tle XVIII-wiecznej grafiki rembrandtyzujacej)

100%
Ignaczak P.
Rocznik Historii Sztuki
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2008
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vol. 33
177-218
EN
The article analyses the prints of Jean-Pierre Norblin de la Gourdaine (1745-1830) in the context of the 18th-century graphic Rembrandtism. The previous studies paid attention only to their associations with the works of Rembrandt, ignoring the relations with the contemporary creativity of European engravers, mainly French and German ones. The engravings by Rembrandt were thoroughly analysed in the 18th-century France and the conclusions were published in numerous theoretical texts. Edme F. Gersaint published in 1751 the first catalogue devoted solely to Rembrandt's prints. Then Claude-Henri Watelet in his 'Rymbranesques' (1787) analysed the graphic technique and determined that Rembrandt used etching combined with a drypoint and burin. Despite these observations and professed fascination with the results achieved by the Dutch master, French graphic artists hardly ever used these combined techniques in their works - instead they stuck to etching. In addition, they imitated the compositions of Rembrandt's paintings and prints, and unusual compositions in his style were scant. In this approach there is evident an impact of interpretative graphics which dominated in France at that time and imitated the works of great masters. It was characterised by technical mastery while forsaking artistic experiments. The situation of German graphic art was different, though. There were fewer theoretical texts published than in France, and interpretative graphics was less dominant. The tradition of 'peintres-graveurs' was cherished since many artists used an etching needle eagerly. Many etchings were modelled of the works by Rembrandt but more individual compositions in his style were also quite numerous. German graphic art was characterized by frequent use of a drypoint, often combined with etching. The 'peintres-graveurs' experimented on various stages of plate preparation as well as during the printing process. In the background of the French School the graphic activity of Norblin, who all his youth spent in Paris where he obtained his artistic education, is exceptional. He was, as a matter of fact, an author of several engravings modelled on existing painting and graphic compositions, but a majority of his oeuvre consists of original works referring in a creative way to the tradition of Rembrandt. They reveal, among other things, deep metamorphoses of iconographic means which allowed him to conceal the affinity between his own works and Rembrandt's models (as, for example, an engraving 'Ecce Homo') or depict the historical scenes which had not been portrayed in visual arts yet ('Presentation of the Crown to Premislas'). His creative experiments were not limited to the iconography itself, but encompassed also the technical process of engraving. Norblin was willing to combine etching with a drypoint, and he also used the techniques giving the effects similar to aquatint. In important stage in his creative process was also printing and retouching of the prints. A significant role played by experiment and attempts at rivalry with Rembrandt were the features Norblin shared with German 'peintres-graveurs' whose works he saw in Paris and on his way back to Poland. Like them, he also created paintings and drawings in the style of Rembrandt. There is no doubt that German art was for Norblin an important source of inspiration.
2

GRAPHIC OEUVRE OF REMBRANDT VAN RIJN. NEW RESERARCH PERSPECTIVES OF GRAPHIC WORK (Tworczosc graficzna Rembrandta van Rijn. Nowe perspektywy badawcze dziela graficznego)

88%
Talbierska J.
Rocznik Historii Sztuki
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2008
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vol. 33
65-127
EN
The activity of Rembrandt as a printmaker spans generally the period from 1626 to 1661. His ouvre amounts roughly to 320 works, including self-portraits, portraits or tronies, nudes, sketches, studies, landscapes, Bible and genre scenes, usually autonomous to his paintings and drawings. Rembrandt was a self-taught printmaker, all the way developing his technique, exploring the abilities of printmaking and customizing graphic art. In late 30s. and 40s. he began to create sophisticated works that combined etching with a drypoint and sometimes burin, while a rather soft type of etching ground. After 1650 there was a drastic change, however, and diagonally drawn lines became rough, crude and dry; a drypoint was used as rich enhancement of etching or on its own. Rembrandt's graphic ouvre represented a synthesis of the previous achievements, a creative experiment, testimony to the innovative technical and stylistic quests. The recent years have brought a significant development in the research into the printmaking of Rembrandt that perfectly reveals the complexity of his method as well as a new required standard of examination of the graphic works in general. In practice it means the well-known model: description, analysis, and interpretation, while the last one is additionally enhanced by new research perspectives. The fundamental elements remained the same, but all stages and descriptions are expanded due to the developed method and research apparatus, while ones of the most important became technical issues and the paper analyses related to the states of impressions and editions. A decade preceding the jubilee year of Rembrandt with its publications and exhibitions has not put the end to the research into Rembrandt's graphic ouvre. The issue here is not only to continue various perspectives of research, but first and foremost to conclude the basic research, including a compilation of a new descriptive catalogue of his prints.
3

IMITATION AND COLLECTION. A CONTRIBUTION TO THE REMBRANDTISM OF NORBLIN (Nasladowanie i kolekcjonerstwo. Przyczynek do rembrandtyzmu Norblina)

88%
Rosset d. T. F.
Rocznik Historii Sztuki
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2008
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vol. 33
219-229
EN
A significant element of the creativity by Jan Piotr Norblin de La Gourdaine are his drawings, watercolours and etchings depicting everyday life of the Polish nobility, Polish types and costumes, markets, local dietines, the events important in the eyes of the nation (the Constitution of May 3, 1791, Kosciuszko's Insurrection of 1794). For this reason in the common mind of the Polish people Norblin became fixed mainly as an illustrator of the history and customs of the last years of the Polish-Lithuanian Commonwealth. European commentators focused their attention on painting inspirations of his creativity, derived from the oeuvre of Watteau, but above all from Rembrandt's. Rembrandtism of Norblin has also become a subject of research of Polish history of art. There were comprehensively analysed here the influences of the graphics by the Dutch artist and reflection of these fascinations in collecting. It was Norblin who brought to Poland the 'Landscape with the Good Samaritan' (the Czartoryskis Museum at Kraków), and in his collection there was quite a number of etchings and drawings by the Master. The latter were frequently an object of specific artistic procedures consisting in retouching and repainting. An example of such treatment is the print of Rembrandt's 'Christ Preaching', 1652, called 'La Petite Tombe' (B. 67). With the help of water paints and ink Norblin significantly retouched it in such a way that while retaining its primary composition, he partially changed its character. A new play of light accentuating the central figure of Christ transformed this picture close to the convention of genre scene into an almost mystic vision. The result, however, did not please its creator, since on the reverse Norblin wrote: 'Retouche que jai faite en 1799 vu que jai la / Planche Jai fait cette Sottise moy indignes'. The author of the present test reflects on the motives that impelled the artist to interfere in such a significant way in the work of art of his great predecessor. He certainly sees some elements of rivalry here, but above all a failed artistic experiment trying to 'correct' some alleged mistakes of the Dutch artist made against the modern art doctrine, no respecting of the 'decorum' rule and clarity of a composition, as well as excessive naturalism and bizarre appearance of his work. .
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