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ON REMBRANDT'S 'LANDSCAPE WITH THE GOOD SAMARITAN' ONCE AGAIN (O Rembrandta 'Krajobrazie z milosiernym Samarytaninem')

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Dec D.

Rocznik Historii Sztuki

2008

vol. 33

53-64

In 2003-2004 a painting by Rembrandt, the 'Landscape with the Good Samaritan' from the Czartoryski Museum at Krakow was cleansed which restored its former spatiality blurred by dirty varnish and revealed a series of details. On the occasion of the Rembrandt Year the picture was sent to the exhibition entitled 'Rembrandt's Landscapes' held at Stedelijk Museum de Lakenhal in Leiden, while at Krakow there was an exhibition-installation organised, consisting of the photographic enlargements of the whole painting and its details, called 'On the Way to Jericho'. The painting's clearing and the possibility to thoroughly analyse its enlargements made it possible to probe the world of this piece of art more deeply. Compared with the few preserved small individual oil landscapes by Rembrandt, the Kraków's painting distinguishes itself by a high level of drama and features some universal truths also about a man of our times. The evangelical figures are depicted not only 'in the background' of the landscape, but they also are related to this dramatic landscape in a well thought-out way. The artist refers to the known to him previous depictions of this motif in Netherlandic graphic art and painting, and makes use of certain means developed there. But the choice of the specific moment from Christ's parable of the Good Samaritan appearing in the Gospel of Luke was made in a very personal and individual way. Special attention merits the originality of uniting of the two men: the 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 robbery. In the painting we find several time layers: the Biblical one, contemporary to the artist (Dutch reality) and universal (the landscape of 'theatrum 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 of the 18th century and in the beginning of the 19th 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 copy of this picture made at that time.

A NEW VISION OF REMBRANDT'S PERSONALITY AND CREATIVITY: TWO EXHIBITIONS OF THE REMBRANDT YEAR (AND ONE POLISH PICTURE) (Nowa wizja osobowosci i tworczosci Rembrandta: dwie wystawy roku rembrandtowskiego (i jeden obraz polski))

100%

Ziemba A.

Rocznik Historii Sztuki

2008

vol. 33

29-44

The 'Rembrandt Year' - 2006 - has brought about a far-reaching revision of the artist's person and works. The present article discusses several exhibitions held in that year. As the background for two of them, recognised as the most important, serves a critical opinion on the exposition of 'Rembrandt - Caravaggio' held at the Rijksmuseum in Amsterdam (curators: D. Bull, T. Dibbits and others), resulting from the conception of 'postmodernist ahistoricism', offering the spectators random associations, their own complements and interpretations of the works by both masters. The juxtaposition of the works by both artists - such different as regards their respective historical period, social and religious circumstances, and artistic temperament - revealed only the timeless, accidental similarities. Scientifically important, however, were the presentations: 'Rembrandt. Zoektocht van een genie' (Rembrandt: the quest of a genius) - held at the Rembrandt House Museum in Amsterdam (Rembrandthuis), displayed under the title of 'Rembrandt: Genie auf der Suche', with different arrangements of the exhibits, in Berlin (Gemäldegalerie, Staatliche Museen), and 'Rembrandts Landschaften - Rembrandts landschappen' (Rembrandt's landscapes) at Kassel (Staatliche Museen, Gemäldegalerie, Schloss Wilhelmshöhe), then at Leiden (Stedelijk Museum De Lakenhal). An analysis of these exhibitions is the impulse to popularise among Polish receivers a new vision of Rembrandt's oeuvre, outlined recently by Ernst van de Wetering, and at the same time to present the results of the research carried under his supervision and restoration works of the Rembrandt's paintings from the Lanckoronski collection at the Warsaw Royal Castle: 'The Scholar at the Lectern' and 'The Girl in a Picture Frame' (both dated 1641).

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2 Rocznik Historii Sztuki

1 Dec D.

1 Ziemba A.

2 2008

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ON REMBRANDT'S 'LANDSCAPE WITH THE GOOD SAMARITAN' ONCE AGAIN (O Rembrandta 'Krajobrazie z milosiernym Samarytaninem')

A NEW VISION OF REMBRANDT'S PERSONALITY AND CREATIVITY: TWO EXHIBITIONS OF THE REMBRANDT YEAR (AND ONE POLISH PICTURE) (Nowa wizja osobowosci i tworczosci Rembrandta: dwie wystawy roku rembrandtowskiego (i jeden obraz polski))