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IV. 3. Bilddokumentation Die Punzierungen in der Altkölner Malerei Punzierungen in Kölner Tafelbildern des 14. und 15. Jahrhunderts Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophischen Fakultät der Universität zu Köln vorgelegt von Annette Willberg Remscheid Köln 1997 1 Inhaltsverzeichnis: Zusammenfassung S. 5 Abstract S. 6 Vorwort S. 7 I. Einleitung I. 1. Punzierungen als Hilfsmittel für die Stilkritik S. 8 - 11 I. 2. Technik S. 11 - 15 I. 3. Forschungsgeschichte S. 15 - 18 I. 4. Methode der Dokumentation S. 18 - 20 I. 5. Werkauswahl S. 21 - 26 II. Die Punzierungen an Kölner Tafelbildern des 14. und 15. Jahrhunderts: Entwicklungen, Zusammenhänge, Differenzierungskriterien II. 1. Die Punzierungen an Tafelbildern des 14. Jahrhunderts II. 1. 1. Zur Ornamentik S. 27 - 35 II. 1. 2. Zur Werkstatt des älteren Klarenaltarmeisters und Umkreis S. 36 - 41 II. 1. 3. Eine Befundanalyse: Zum Kölner Diptychon aus der Berliner Gemäldegalerie S. 41 - 43 II. 1. 4. Zwei Ausnahmen: Zur Kölner Tafel "Christus am Kreuz zwischen „Maria und Johannes mit Stifter" und der Berliner Tafel "Maria auf Sonne und Mond" S. 43 - 47 2 II. 2. Die Punzierungen an Tafelbildern der ersten Hälfte des 15. Jahrhunderts II. 2. 1.Zum Meister der Heiligen Veronika S. 47 - 49 II. 2. 2.Zum Triptychon der "Madonna mit der Wickenblüte" S. 49 - 50 II. 2. 3.Zum Meister von St. Laurenz S. 50 - 53 II. 2. 4.Zum älteren Meister der Hl. Sippe S. 53 - 56 II. 2. 5.Zum Meister des Gereon-Altars S. 56 - 57 II. 2. 6.Ausgewählte Werke der ersten Hälfte des 15. Jahrhunderts S. 57 II. 2. 6. 1. Kreuzigungstafel, Berlin S. 57 - 59 II. 2. 6. 2. Kalvarienberg des Westfälischen Meisters in Köln S. 59 II. 2. 6. 3. Kalvarienberg der Familie Wasservass S. 60 - 61 II. 2. 6. 4. Aposteltafel, Nürnberg S. 61 II. 2. 6. 5. Bilderfolge, Berlin S. 62 II. 2. 6. 6. Vera-Icon, Köln S. 62 - 63 II. 3. Die Punzierungen an Tafelbildern der zweiten Hälfte des 15. Jahrhunderts II. 3. 1. Zur Lochner Nachfolge S. 63 - 66 II. 3. 2. Zum Meister der Verherrlichung Mariae und Marientafel, Köln S. 66 - 68 II. 3. 3. Die Werkgruppen um den Meister des Marienlebens S. 68 II. 3. 3. 1. Zum Meister der Lyversberg-Passion S. 68 - 69 II. 3. 3. 2. Zum Meister des Marienlebens und Umkreis S. 69 - 73 II. 3. 3. 3. Zum De-Monte-Triptychon S. 74 - 75 II. 3. 3. 4. Zum Meister der Darmstädter Wurzel Jesse S. 75 - 78 3 Die Punzierung in der Altkölner Malerei – Punzierungen in Kölner Tafelbildern des 14. und 15. Jahrhunderts Zusammenfassung Bei den Punzierungen handelt es sich um eine Verzierungstechnik vergoldeter Oberflächen. Hierbei wurden Ornamente, Schriftzeichen, Gegenstände oder ganze Figuren mit speziellen, ornamentierten oder einfachen punktförmigen Werkzeugen in den Goldgrund gedrückt bzw. gestempelt. Die vorliegende Arbeit leistet Grundlagenforschung indem sich hier erstmals mit den Punzierungen an mittelalterlichen Kölner Tafelbildern befaßt und damit neues Forschungsmaterial zur Verfügung gestellt wird. In einem umfangreichen Katalogteil werden die Punzierungen an 55 Werken aus der Anfangszeit der Kölner Tafelmalerei zu Beginn des 14. Jahrhunderts bis Ende des 15. Jahrhunderts dokumentiert. Mit Hilfe einer speziell für diese Arbeit entwickelten Dokumentationsmethode werden die diffizilen Ornamente, die oft auf Fotos nicht oder nur unzureichend erkennbar sind, in originalgroßen Umzeichnungen präsentiert. Musterfolgen und Verzierungsdetails werden so erstmals sichtbar gemacht. Neben einer exakten Beschreibung wird für jedes Bild ein Repertoire an Werkzeugen zusammengestellt, die anhand der Abdrücke auf der Goldoberfläche identifiziert und vermessen wurden. In einer abschließenden Gesamtübersicht werden so Entwicklungen und Besonderheiten im Werkzeuggebrauch ablesbar. Im Textteil wird der zeit- und werkstattspezifische Gebrauch von Mustern und Werkzeugen herausgearbeitet. Die Untersuchungsergebnisse werden exemplarisch diskutiert und anhand einzelner Zuschreibungsprobleme als Argumentationshilfe bei der Antwort auf offene Forschungsfragen eingesetzt. 5 Punch Marks in the Altkölner Malerei – Punch marks in Cologne Panels of the 14th and 15th Centuries Abstract The technique of punch marks involves the decoration of gilded surfaces. The gilded ground was stamped with ornaments, lettering, objects and complete figures using specially ornamented or simple pointed tools. This study is concerned with fundamental research in that it deals with punch marks on medieval Cologne panels for the first time, thereby providing new research material. In an extensive catalogue, punch marks are documented in 55 exemplary works from the early period of Cologne panel painting, from the beginning of the 14th century to the end of the 15th century. By means of a special documentation method developed for this study, the fine ornamentation, which is often not visible on photographs, is presented in original scale illustrations. Models and decorative details are thus revealed for the first time. In addition to a precise description, a comprehensive repertoire of the tools used for each picture is compiled. These are identified by examining and measuring the stamps on the panel surface. In the subsequent general survey, the developments and special features of techniques employed become apparent. Furthermore the use of typical models and tools for the period and workshops are analysed. Samples from the research findings are examined and subsequently used to resolve particular, hitherto unanswered classification questions. 6 Vorwort Die vorliegende Arbeit ist das Ergebnis eines zweijährigen Forschungsprojektes am Wallraf- Richartz-Museum zu Köln. Hierdurch wurde erstmals eine grundlegende Beschäftigung mit dem Thema der Punzierungen an mittelalterlichen Kölner Tafelbildern ermöglicht. Das Forschungsprojekt wäre ohne die großzügige Unterstützung des damaligen Leiters der Mittelalter-Abteilung des Wallraf-Richartz-Museums und jetzigen Direktor des Rheinischen Landesmuseum Bonn, Dr. Herrn Professor Dr. Zehnder, weder zustande gekommen noch zu bewältigen gewesen. Auch ohne die tatkräftige Hilfe der Mitarbeiter der Restaurierungswerkstatt des Wallraf-Richartz-Museums Köln unter der Leitung von Frau Christa Steinbüchel und zahlreicher Museumsmitarbeiter anderer Häuser wäre die Arbeit in dieser Form nicht möglich gewesen. Allen Beteiligten sei an dieser Stelle herzlichst gedankt. Zu großem Dank verpflichtet bin ich Herrn Professor Dr. Hans Ost, der die wissenschaftliche Aufbereitung und Auswertung des Materials betreute und von Beginn an durch seinen jederzeit verläßlichen Beistand und die zahlreichen wertvollen Anregungen an der Entstehung der Dissertation großen Anteil hatte. Besonders danken möchte ich meiner ehemaligen Kollegin Frau Dr. Dagmar Täube für ihre ermutigende Kritik und fachkundige Beratung sowie meinem Mann Lothar Willberg für sein geduldiges Korrekturlesen und seine Unterstützung bei zahlreichen computertechnischen Problemen. 7 I. Einleitung I. 1. Punzierungen als Hilfsmittel für die Stilkritik Obwohl die Stilkritik seit Beginn der Forschungen zur Altkölner Malerei vor allem mit den Arbeiten Alfred Stanges und Frank Günther Zehnders wesentliche Erkenntnisse zur Chronologie und Zuschreibung der in verhältnismäßig großer Zahl überkommenen Bilder der mittelalterlichen Kölner Malerei erzielen konnte, blieben verschiedenste Probleme bei der Identifizierung einzelner Werkgruppen und Abgrenzungen gegenüber anderen Lokalstilen ungeklärt. Das Fehlen von Signaturen und der Mangel an gesicherten Datierungen führten im Laufe der Forschungsgeschichte vielfach zu kontroversen Lösungen. In diesem Sinne äußerte Alfred Stange im Zusammenhang mit der Diskussion um das Oeuvre des Meisters der Heiligen Veronika seine Bedenken: "...Und auch dieser Versuch, mit Hilfe der Stilkritik in der reichen Kölnisch Malerei Ordnung zu schaffen, ist ....mühselig und ungewiß. Zu ähnlich sind sich immer wieder die Werke, zu wenig individuelle Eigenart lassen sie erkennen, als daß jeweils Grenzen und Gruppen eindeutig klar umreißbar wären...".1 Auch Frank G. Zehnder brachte in seinem Beitrag zu den Werkgruppen in Köln um 1400 die Schwierigkeiten der Stilkritik bei der Zuschreibung mittelalterlicher Tafeln eines Zeitabschnittes, die sich durch überregionale Stilvereinheitlichung auszeichnet, auf den Punkt. "...Werke werden nicht nur über Jahrzehnte umdatiert, sondern mit den teils gleichen Argumenten auch über größere Räume halb Europas hinweg lokalisiert...".2 Hans Martin Schmidt sah die Problematik im methodischen Vorgehen zur Differenzierung der Werkstätten vor allem darin begründet, daß häufig gerade weit verbreitete Motive und Figurentypen als Argumente zur Zusammengehörigkeit von Werkgruppen herangezogen wurden: "Zahlreiche falsche Zuschreibungen sind in der Literatur häufig nur mit der Übereinstimmung weniger Motive oder der Verwandtschaft einiger Figurentypen in verschiedenen Bildern begründet. Die große Verbreitung bestimmter Motive und Figurentypen, die in der Malerei der zweiten Hälfte des 15. Jahrhunderts, insbesondere der 1 A. Stange, Deutsche Malerei der Gotik, I - XI, Berlin/München 1934 - 1961, III, S. 64. 8 kölnischen, anzutreffen ist, wurde dabei zumeist außer acht gelassen. Viele deutsche und niederländische Maler der Zeit orientierten sich immer wieder an denselben, von herausragenden niederländischen Meistern (u. a. Rogier van der Weyden) geschaffenen Vorbildern."3 Bei der Suche nach individuell aussagefähigen Kriterien, die eine regionale wie auch engere werkstattspezifische Identifizierung begründen könnten, werden seit der Entwicklung und dem Einsatz
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