Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)
ZOLTÁN KOVÁCS: "The Witty Pieter Quast": The Works of an Amsterdam Master in Hungary Then and Now
In the œuvre of Palamedesz, one can observe a change in style about 1635. He gradually omits the landscape elements seen in his earlier pictures, and increasingly focuses on presenting the dramatic elements of the battle. Cavalry Skirmish preserved in the collection of the Dresden Gallery illustrates well these stylistic features (inv. no. 1327, oil on panel, 46 x 71.5 cm). See M. P. van Maarseveen, "Ruitergevechten en slagveldscènes uit de eerste helft van de zeventiende eeuw," in Zwolle and Delft 1998, 115, fig. 124. The main group was visible on the left-hand side of the painting signed with the PQ monogram, while to the right there were a few horses, partially standing in water. According to Bredius, the composition was characterised by rich and vigorous rendering. See Bredius 1902, 76. Oil on panel, 34 x 31 cm. Ernst Museum Auctions LII, The art estate of professor Ödön Faragó, Budapest, 1935, lot 214, pl. XII; previously: A köztulajdonba vett műkincsek első'kiállítása [First Exhibition of Nationalised Art Treasures], exh. cat., Kunsthalle, Budapest 1919, 21, no. 35. Entitled Apprehended. Oil on panel, 30 x 41 cm, signed: PQ. Van Thiel 1976, 459, no. A 1756. See La vie en Hollande au XVHi eme siede, exh. cat., Musée des Arts Décoratifs, Paris 1967, Nr. 253. Oil on panel, 35 x 41.5 cm, signed low^er left (false): AVO 1669, inv. no. 1005. A. E. Krol and K. M. Semenova, Musée de l'Ermitage. Peinture de l'Europe occidentale II, Leningrad 1981, 135. Oil on panel, 52 x 73 cm. E. G. Grimme, Führer durch das Suermondt-Museum Aachen, Aachen 1974, no. 208. Oil on panel, 43.5 x 28.3 cm, signed lower right: PQ. Sotheby's New York, 30 January 1997, lot 85A. A painter called Pieter Mattheus was witness to a bloody scuffle that took place in the house where Quast lived on 1 June 1643. Bredius published the text from the report that was made on the incident from archival material of Amsterdam notary Jan van der Ven. Bredius 1902, 70.—On 3 February 1644, the Quast home was once again the stage of dramatic events. See Stanton-Hirst 1982, 235. As an example, we should mention the piece from the collection of the Städelsches Kunstinstitut in Frankfurt (inv. no. 1050, oil on panel, 34.5 x 26.5 cm). See David Teniers der Jüngere 1610-1690. Alltag und Vergnügen in Flandern, exh. cat., Staatliche Kunsthalle Karlsruhe, Karlsruhe and Heidelberg 2005, 128, no. 19. The figure of the man screaming in pain, who appears as the protagonist of the composition, is also present in a Tavern Scene in the Hermitage by Brouwer (inv. no. 643, oil on panel, 25 x 33.5 cm). See J. Kozsina et al., Nyugat-európai festészet az Ermitázsban. XIII-XVIII. század [Western European Painting at the Hermitage, 13—18 th Centuries], Budapest 1979, lot 137. In the work entitled The Dentist, held in the collection of the Staatliche Kunsthalle, Karlsruhe, meanwhile, we find the figures of the worried wife and child of the patient (inv. no. 191, oil on panel, 24.7 x 31.5 cm). See Karlsruhe and Heidelberg 2005, 116, no. 13.
