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
On the Naer bet leve?? series, see J. A. Spicer, "The 'naer het leven' Drawings; by Pieter Brueghel or Roelandt Saevry?," Maste?- Drawings 8 (1970), 3-30; F. van Leeuwen, "lets over het handschrift van de 'naer het leven'-tekenaar," Oud Holland 85 (1970), 25-32. Simply as a point of interest, I would mention that there is a study that Quast made in 1638, found in the drawings collection of the Louvre, representing Polish and Hungarian costumes, which stands in close stylistic correlation to the drawing copies of Naer bet leven. F. Lugt, Musée du Louvre. Inventaire Gé?ié?~al des Dessins des Ecoles du Nord. Ecole Hollandaise II, Paris 1931, no. 583. u Naar bet leven geteeke?id e?? gegraveerd door P. Quast". Hendrik Hondius (1597-1642) first published the engraving series in 1638, and subsequently, made enthusiastic by the success of the sheets, the most important Amsterdam publisher, Claes Jansz. Visscher (1587-1652) also issued them, two years later. See Hoop Scheffer 1974, 166-72. C. Veth tried to substantiate the notion raised by Bredius. Bredius 1902, 74-75; C. A T eth, "Een portrét van Prins Willem II door Pieter Quast," Oude Kunst 2 (1916/1), 268-71; Niederländisches Künstlerlexikon, ed. A. v. Wurzbach, II, Vienna and Leipzig 1910, 368. See Stanton-Hirst 1982, 234-35; Sinnbild und Realität. Niederländische Druckgraphik i?n 16. und 17. Jahrhundert. Die Sa?n?nlung im Staatlichen Museum Schwerin, exh. cat., Schwerin 1998, 170. Inv. no. 5955. Oil on oak panel, 27 x 20.5 cm. Signed upper right: PQ (ligatured)/ 1639. Old Masters'" Gallery. Sum?na?-y Catalogue. Vol. 2. Early Netherlandish, Dutch and Flemish Paintings, ed. I. Ember and Zs. Urbach, Budapest 2000, 137. The catalogue gave the place of the signature incorrectly. The painting was in the Paris collection of P. Delaroff at the turn of the twentieth century, then on 23-24 April 1914, together with other pieces in the collection, it was put on auction at G. Petit in Paris, under lot number 180. The artwork presumedly arrived to Hungary after this. See Az Országos M agyar Széptnűvészeti Múzeum Evkönyvei IV. 1924-1926, Budapest 1927, 197-98; A. Pigler, Katalog der Gemäldegalerie Alter Meister, I, Budapest 1967, 564. Such a work by Quast ("een tronietje van Quast") appears on a list of artworks compiled in 1640 by the renowned art dealer, Johannes de Renialme. Painter Mattheus Bloem in 1655 likewise mentions two "faces" by Quast. See Bredius 1902, 80-81. In the case of Rembrandt, e.g., it is demonstrable that he often used himself as a model for painting of tronies. See E. van de Wetering, A Corpus of Rembrandt Paintings, IV. The Self-Portraits, Dordrecht 2005, 141. On the "tronie" genre, see J. van der Veen, "Faces from Life: Tronies and Portraits in Rembrandt's Painted Oeuvre," in Rembrandt. A Genius and His Impact, exh. cat., National Gallery of Victoria, Melbourne, National Gallery of Australia, Canberra 1997-1998, Zwolle 1998, 71-73. The most
