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1. JUDITH LEYSTER, Lachende Drinker

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1. JUDITH LEYSTER, Lachende Drinker 1. JUDITHLEYSTER, Lachende drinker. (Mus. Karlsruhe). III. JUDITH De Drinker. (Rijksmuseum). II. G. Muzikant. (Rijksmuseum). IV. JUDI'I'HI,EYSTER, Drinkers. (Veiling Hoogeodijk 1908). V. JUDITHLEYSTER, Ilet vanbod, (Mauritshuis) Gerard Honthorst und Judith Leyster VON Dr. ARTH. VON SCHNEIDER. V der Kunstha!le zu Karlsruhe befindet sich unter No. 22 j des Galeriekatalogs ein lebensgrosses Halbfigurenbild, das einen ,,I,acher mit V?reinglas" darstelit. (Abb. i.) Es wird GERARD HoNTMORST zugeschrieben. Ein junger Mann in Dreiviertelprofil nach rcchts gewendct lacht den Beschauer an. In der vorgestreckten Rechten halt er ein gefiilltes Weinglas, in der Linken ein<; brennende Kerze, die er von riickwarts dem Glase derart nahert, dass sich die Flamme in inm spiegclt. Seine Kleidung besteht in einem weissen, uber der Brust offenen Hemd mit faltigem Kragen. einem zinnoberroten Wamms und hell- gelbem Lederkoller. Auf dem Kopf tragt er einen federgeschmuckten Strohhut. Die Gestalt wird in Hufthohe von dem unteren F?ildrancl iiberschnitten. Auf den ersten Blick scheint die Zuschreibung an GERARD HONTHORS'r ganz verstiindlich. Ausser dem genreartigen Vorwurf und dem Halbfigurenformat spricht fur HONTHORST vor allem die Verwendung eines Lichteffekts. Genau das gleiche Motiv einer brennenden Kerze, die sich hinter einem Weinglas spiegelt, kommt beim "verlorenen Sohn" HONTHORSTS in der alten Pinakothek in Miinchen und seiner Varzeichnung in der Albertina in Wien vor. Ebenso erinnert die kolo- ristische Wirkung des Kerzenlichts, ein schwefelgelber Wiederschein, der uber die belichteten Flachen der braunen Karnation, iiber Gesicht, Hals und Brust aus- gegossen ist, an die schematische Gewohnheit dieses Meisters. Eine aussere Ahn- 170 lichkeit mit HONTHORST besteht in der Haarbehandlung. Die spiralartig gedrehten Locken - ein Nachleben maniristischer Formgestaltung - findet sich auch bei dem Utrechter Maler. Vergleicht man aber das Karlsruher Gemalde eingehend mit gesicherten Werken HONTHORS'rS, z. B. dem bezeichneten und 1623 datierten "Musikanten'P des Rijksmuseums (No. 1233 Abb. 2), so lassen sich doch so starke stilistische Unterschiede feststellen, dass die Zuschreibung an HONTHORST schwerlich auf- recht erhalten werden kann. Abweichend von dem Karlsruher Gemdlde ist bei HONTHORST die vollplastische, fast statuarisch wirkende Durchmodellierung der Figur des Musikanten in allen ihren Teilen. In Verbindung damit steht der feste, panzerartige Farbauftrag, wahrend der Autor des Karlsruher Gemdldes an ver- schiedenen Stellen, z. B. am Hemdkragen, am Strohhut und seiner Feder eine deutliche Tendenz zur Auflosung der festen Form durch lockere Pinselfuhrung zeigt. Unterschiedlich ist auch der Gesichtstypus beider Gestalten. Bei HONTHORST erkennt man ein ungewohnliches Betonen der Unebenheiten der Epidermis, aller Runzeln und Falten - ein Element des caravaggiesken Naturalismus -, ein charakteristisches Hinaufziehen der Augenbrauen und plastisches Hervortretenlassen der Augen mit breit hingezogenen Lidern. Demgegenuber zeigt der "Lacher mit Weinglas" glatte, unlebendig wirkende Kariiationsfldchen, mandelformig geschlitzte und tiefer in den Hohlen liegende Augen. Wer ist nun aber der Autor des Karlruher Gemaldes, wenn die Zuschreibung an HONTHORST hinfdllig wird? Lebensgrosse Halbfigurenbilder kombiniert mit Lichteffekten tauchen in den zwanziger Jahren des 17- Jahrhunderts in der Um- gebung HONTHORSTS verschiedentlich auf. Ein ndherer stilistischer Zusammenhang mit dem Karlsruher Gemalde findet sich aber merkwurdigerweise nicht innerhalb , des Utrechter -, sondern des Halskreises in einigen Bildern JUDITH LEYSTERS_ Zu diesen gehort die "Serenade" des Rijksmuseums (No. 1455a monogrammiert und datiert 162g), ein lebensgrosses Kniestuck eines jungen Mannes mit einee- Laute, dessen Gesicht von einer unsichtbar bleibenden Lichtquelle von unten be- leuchtet wird, das ,,verlockende Anerbieten" bei Lampenlicht im Mauritshuis im Haag (No. 564 monogrammiert und datiert 1631), ein kleines Bildchen in ganzen Figuren, endlich ein 1629 datierter "lustiger Trinker", ebenfalls im Rijksmuseum (No. 1455 mit Monogram Abb. 3). Namentlich das zuletzt genannte lebensgrosse Halbfigurenbild weist, obwohG es kein Nachtstuck ist, eine so weitgehende stilistische Verwandtschaft mit dem Karlsruher Gemalde auf, dass es am zweckmassigsten zum Vergleich herangezogen werden kann, um eine Zuschreibung an JUDITH LEYSTER zu stutzen. Beiden Fi- guren gemeinsam ist die nach rechts gewandte Stellung ihres Korpers mit den 171 vorgestreckten Armen, die leichte Neigung des Kopfes nach der Seite und das verschmitzte Anlachen des Beschauers mit halb geoffnetem Mund. Sehr charakte- ristisch ist auch der Schwung, mit der sich die Hutfeder auf beiden Bildern nach unten biegt, auffallend ahnlich die untere Partie des Gesichts, Mund. Kinn und die durch das Lachen gebildeten Falten. Bei all dieser Verwandtschaft, die eine Zuschreibung an JUDITH LEYSTER nicht zu gewagt erscheinen lasst, sind allerdings auch wesentliche Unterschiede bemerkbar, Unterschiede, die aber meines Erachtens auf eine verschiedene Ent- stehungszeit der beiden Gemalde zuruckgefuhrt werden konnen. Wir wissen, dass JUDITH LEYS1'ER in Beruhrung mit FRANS HALS gestanden, dessen Bilder sie oft his zur Tauschung nachgeahmt hat, sodass erst in neuerer Zeit (ine Anzahl dem Haarlemer Meister zugeschriebener Werke ihrer rechtmassigen Autorin wieder zugesprochen wurden. In dem "Trinker" des Rijksmusellms ist nun der Einfluss des FRANS HALS in der breiten und abgekiirzten Malweise, die in der Kleidung und in den Handen seines Modells noch etwas roh und holzern wirkt, in der Er- fassung des momentanen Gesichtsausdrucks aber schon eine erstaunliche Sicherheit erreicht hat, deutlich spurbar. Von dieser Art optisch freier Formgebung sind in dem Karlsruher Gemalde erst die oben erwdhnten Ansdtze vorhanden. Die breite Malweise des "Trinker" erweckt ferner in Verbindung mit der uberlegteren Kom- positions- und Raumanordnung, der starkeren Betonung der Diagonalrichtung und dem kompakteren Zusammenschluss der Figur einen Eindruck unmittelbarer Lebendigkeit, wahrend dem pLacher mit Weinglas" vergleichsweise etwas Blut- leeres anhaftet. Alle diese Momente sprechen dafur, dass wir in dem "Trinker" des Rijks- museums eine entwickeltere Bildgestaltung vor uns haben, der "Lacher mit Wein- glas" mithin fruher entstanden sein durfte. Wie ldsst sich aber der Einfluss HONTORSTS auf JUDITIi LEYSTER crklaren, und wie hat man sich ihren kanstlerischeii Entwicklungsgang vorzustel1en, da bis jetzt keine Urkunden bekannt geworden sind, die irgenclwelche personliche Beziehungen zu dem Meister und seiner Vaterstadt Utrecht erweisen ? Ein direktes Schulverhaltnis zu FRANS HALS ist uns zwar ebenfalls nicht uberliefert, die rein dussere Moglichkeit eines Einflusses seiner Kunst aber durch ihren Aufenthalt in Haarlem gegeben, wird sie doch schon in jahre 1623 durch den Stadtchronisten Ampzing als Haarlemer Kunstlerin gefeiert und 5 Jahre spdter in die dortige Lukas- gilde aufgenomen. 1) Die Vorliebe JUDITH LEYSTFRS fur die Nachtstuckmalerei - HONTHORSTS wird also, wenn sie keine zufallige ist und dem widersprechen die Ahnlichen Effekte in der "Serenade" des Rijksmuseums und in dem ,,\'erlockenden 1) Vgl. Hofstedede Groot: JUDITHLEYSTER, Jahrbuch der preussischenKunstsammlungen. 1893. p. 191. 172 Anerbieten" des Mauritshuis -, nur dadurch verstdndlich, wenn man annimmt, dass dieses neue Problem ubcr die Schule von Utrecht hinaus ganz allgemein bei der ceitgenossischen K3nstlerschaft Hollands Aufsehen erregte und Nachahmung fand. Pr3ft man daraufhin die Nachrichten, die sich auf das Leben HONTHORSTS in Holland nach seinem iialienischen Aufenthalt beziehen, so gewinnt man in der Tat den Eindruck, dass er der Modemaler der zwanziger Jahre des 17. Jahr- hunderts gewesen ist. Sein Ruf als Nachtstuckmaler mit dem Beinamen "GHERARDo DELL,A NOTTE" scheint seiner Ruckkehr nach Holland vorauszugehen. Denn gleich bei seiner Ankunft wird er vom englischen Gesandten Sir D. CARLETON beschdf- tigt. Durch ihn tritt er in Beziehungen zu Lord ARUNDEL, dem beruhmten eng- lischen Sammler, der gerade seine Nachtstucke hoch einschatzt. 1) Dazu kommt eine ausgedehnte Portraittdtigkeit, zahlreiche Auftrdge in England und ein grosser Sch31erkreis. 2) Nachgeahmt wurden seine Nachtst3cke in Holland namentlich von seinem Lehrer ABRAHAM BLOEMAERT und seinem bekanntcH! en Schüler SANDRART. Dass REMBRANDTS fruhe Gemalde mit kunstlicher Beleuchtung z. B. der "Geld- wechsler" des Kaiser Friedrichmusuems (No. 328d) der voraurgchenden Nacht- st6ckmalerel HONTHORSTS ihre Anrcgung verdanken, ist schon wiederholt ausge- sprochen worden. 3) Daneben gewinnen seine lebensgrossen Genrebilder in Halb- tigurenformat an Beliebtheit. An dieser Stelle sei vorbehaltlich ringer spdteren aus- f3hrlichen Untersuchung angedeutet, dass sich auch bei FRANS HALS der eigentum- liche Wandel von der ungeschickt und zufdllig wirkenden Zusammenstellung seiner Figuren in den fruhen Genrebildern, etwa der "lustigen Mahlzeit" der ehemaligen Sammlung ALTMANN in New-York (Hofstede de Groot, Kritisches Verzeichnis. Bd. Ill, No. 141), zu der freien Flachenfullung und dem intensiven Raumerlebnis der bekannten Einzelhalbfiguren genreartiger Auffassung des dritten und vierten Jahrzehnts des 17. Jahrhunderts am zwanglosesten durch das Vorbild dieser neuen, aus Italien importierten Bild ;attung seine Erkidrung findet. s) In diesem Zusammenhang betrachtet, kommt man zu dem Resultat, dass die fr3he Produktion JUDITH LEYSTERS zunachst
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