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Drei Spanische Maltechnische Texte Des Barock Drei spanische maltechnische Texte des Barock. Kommentierte Übersetzung ins Deutsche der Passagen aus Vicente Carducho, Diálogos de la pintura (1633), Francisco Pacheco, Arte de la pintura (1649) und Antonio Palomino, El museo pictórico y escala ó ptica (1715-24) Dissertation zur Erlangung des Doktorgrades der Geisteswissenschaften (Dr. phil.) im Studiengang Kunsttechnologie, Konservierung und Restaurierung von Kunst- und Kulturgut, Fachbereich II, Hochschule für Bildende Künste Dresden vorgelegt von Corinna Gramatke geb. am 08. November 1961 in Hamburg Betreuer: Prof. Dr. Ulrich Schießl, Hochschule für Bildende Künste Dresden Prof. Dr. Heiner Böhmer, Technische Universität Dresden Gutachter: Prof. Dr. Ulrich Schießl, Hochschule für Bildende Künste Dresden Prof. Dr. Heiner Böhmer, Technische Universität Dresden Prof. Dr. Ursula Haller, Hochschule für Bildende Künste Dresden Tag der Einreichung der Dissertation an der Hochschule für Bildende Künste Dresden: 26.11.2008, Tag der öffentlichen Verteidigung: 17.04.2009 Zusammenfassung Die maltechnischen Kapitel der drei wichtigsten spanischen barocken Traktate zur Kunst liegen hier erstmals in deutscher Übersetzung vor. Carducho, Pacheco und Palomino waren in ihrer Zeit angesehene und produktive Künstler. Zudem engagierten sich alle drei für die künstlerische und gesellschaftliche Emanzipation der Malerei und ihre Aufwertung zur arte liberal . In ihren Kapiteln behandeln sie Ölmalerei, Freskomalerei, verschiedeneTechniken der Wasserfarbenmalerei, Vergoldungstechniken und Pacheco auch die Fassmalerei. Neben Erläuterungen zum Kontext der Traktate und den Biographien der Autoren bietet die Arbeit einen Einblick in den aktuellen Forschungsstand im Bereich spanischer Maltechnik des 17. Jahrhunderts und umfasst philologische Fragen im Zusammenhang mit der Übersetzung, ein Glossar mit den wichtigsten maltechnischen Termini und eine Zusammenfassung der dargestellten Maltechniken. Der Wunsch, die in den Texten genannten Malmaterialien mit naturwissenschaftlichen Analyseergebnissen zu vergleichen, um die Übersetzung zu untermauern und eine Aussage treffen zu können, ob und wie weit die Texte der tatsächlichen Praxis entsprechen, ließ sich nur begrenzt erfüllen. Denn die Werke der drei Maler sind bislang kaum untersucht. Aber mithilfe der im Rahmen der vorliegenden Übersetzung konsultierten Sekundärliteratur (zeitgleiche Dokumente, Verträge, Rechnungen, Zunftordnungen, Kunsttraktate, damals gebräuchliche Pharmakopöen, allgemeine Lexika, Wörterbücher, Handelsbücher und Materialistenlexika) lässt sich belegen, dass die in den Traktaten erwähnten Techniken und Materialien in Spanien damals durchaus üblich waren und die maltechnischen Kapitel deshalb in engem Bezug zur tatsächlichen beruflichen Tätigkeit stehen. Abstract The chapters on painting techniques of the three most important Spanish baroque treatises on art are presented here for the first time in German. Carducho, Pacheco and Palomino were in their time regarded as important and productive artists. Furthermore, all three were strongly engaged in the artistic and social emancipation of painting and its revaluation in connection with arte liberal. In their chapters they elaborate upon oil painting, fresco painting, different water colour techniques, gilding techniques and Pacheco also discusses the art of polychromy. Apart from information on the context of the treatises and the biographies of the authors this work offers a view into the current state of research in the field of Spanish painting techniques of the seventeenth century. It covers philological questions in connection with the translation and a glossary with the most important terms on painting techniques, as well as a summary of the presented painting techniques. The desire to compare the artists’ materials specified in the texts with the analytical results of scientific examinations in order to support the translation and to be able to make a statement whether and how far the texts correspond to actual painting practice was only fulfilled to a certain extent. This was due to the fact that the works of the three painters have until now hardly been examined. Only with the assistance of the consulted secondary literature (contemporary documents, contracts, calculations, guild ordinances, artists’ treatises, pharmacopoeia, general encyclopaedias, dictionaries and trade documents) in the context of the translation was it possible to prove that the techniques and materials mentioned in the treatises were at that time quite common in Spain and the chapters on painting techniques were thus closely related to the actual activity of artists. Inhalt I. Einführung Danksagung, Einleitung und Autorenauswahl und Vorwort zur Übersetzung …………………....... 1 Quellenstudien und naturwissenschaftliche Untersuchungsergebnisse an Kunstwerken............... 6 Philologische Fragen im Zusammenhang mit der vorliegenden Übersetzungsarbeit…................ 9 II. Zu den Autoren und Übersetzung der maltechnischen Passagen der drei Traktate Kontext der Traktate......................................................................................................................... 19 Vicente Carducho (1576 Florenz - 1638 Madrid) Diálogos de la pintura (1633) Zum Autor Zum künstlerischen Werk………………………………………………..........……............................ 27 Publikationen zu Leben und Werk Carduchos…………………………..............................…...….. 28 Publikationen maltechnischer Untersuchungen………………………............…...................…..... 30 Zum Buch Editionen………………………………………………………………………................................….. 30 Teileditionen……………………………………………………….........…...…...................….....….... 31 Teilübersetzungen………………………………………………………….....................…................. 32 Gesamtüberblick der Editionen, Teileditionen, Übersetzungen und Teilübersetzungen……....... 34 Zum Inhalt des Traktats................................................................................................................ 34 Zum maltechnischen Abschnitt im achten Dialog......................................................................... 35 Übersetzung Achter Dialog Von der Praxis der Kunst, mit den Materialbezeichnungen und Termini, den Prinzipien der Physiognomie und Symmetrie und ihrer heutigen Wertschätzung und Stellung am Spanischen Hof ................................................................................................. 38 Francisco Pacheco (1564 Sanlúcar de Barrameda – 1644 Sevilla) Arte de la pintura (1649) Zum Autor Zum künstlerischem Werk............................................................................................................. 49 Publikationen zu Leben und Werk Pachecos................................................................................ 50 Publikationen maltechnischer Untersuchungen............................................................................ 51 Zum Buch Manuskript…...……………………………………………………………….................................…... 51 Editionen....................................................................................................................................... 52 Teileditionen.................................................................................................................................. 54 Übersetzungen.............................................................................................................................. 55 Teilübersetzungen......................................................................................................................... 55 Gesamtüberblick der Editionen, Teileditionen, Übersetzungen und Teilübersetzungen............. 56 Zum Inhalt des Traktats................................................................................................................ 67 Zu den maltechnischen Kapiteln................................................................................................... 68 Übersetzung Drittes Buch der Malerei Von ihrer Praxis und von allen Arten und Weisen, sie auszuüben Kapitel I Von den Skizzen, Zeichnungen und Kartons und von den verschiedenen Arten, sie zu gebrauchen...................................................................................................................... 62 Kapitel II Von der Wasserfarbenmalerei, ihrem Alter, ihrer Vielgestaltigkeit und wie man sie ausübt 71 Kapitel III Vom Illuminieren, vom estofado und der Freskomalerei und deren Alter und Dauerhaftigkeit.................................................................................................................... 79 Kapitel V Von der Art und Weise, mit Öl auf Wand, Tafeln, Leinwänden und anderem zu malen............ 92 Kapitel VI In dem wir mit der Ölmalerei auf anderen Materialien fortfahren und von den polierten und den matten Inkarnaten berichten........................................................................................ 102 Kapitel VII Von der Poliment- und Ölvergoldung auf verschiedenen Materialien und von der Malerei der Blumen, Früchte und Landschaften.................................................... 114 Kapitel VIII Von der Tiermalerei, der Vogel- und Fischmalerei, vom bodegón und von der geistreichen Erfindung der Portraitmalerei nach dem Leben..................................................... 125 Antonio Palomino (1653 Bujalance – Madrid 1726) El museo pictórico y escala óptica (1715-24) Zum Autor Zum künstlerischen Werk.............................................................................................................. 139 Publikationen
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