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Zu Den Martyrerbildern Anrwerpens Im Spaten 16. Jahrhundert DAVlD FREEDBERG Zu den Martyrerbildern Anrwerpens im spaten 16. Jahrhundert Kaum jemand, der im Koninklijk Museum voor Schone Kunsten in Antwerpen die Raume durchschreitet, in denen die Werke der Generation vor der Zeit von Peter Paul Rubens zu sehen sind, kann behaupten, er ware nicht von den groBformatigen Olgemalden einer Reihe ausnehmend grausamer Martyrerszenen beeindruckt wor­ den. Es handelt sich um die Gemalde "Oas Martyrium der Heiligen Crispinus und Crispinianus« (Abb. 1-3), "Oas Beinwunder und Martyrium der Heiligen Cosmas und Oamian" (Abb. 4 und 5), "Oiokletian verurteilt den Heiligen Sebastian zum Tode«, »Szene aus dem Martyrium des Heiligen Sebastian« (Abb. 6a und b) und "Szenen aus dem Martyrium des Heiligen Georg« (Abb. 7a und b), alle von Am­ brosius Francken. 1 • Dies ist die von Carolin Behrmann ins Deutsche übertragene und mit mir gemeinsam auf den neu­ esren Forschungsstand gebrachte Version meines Artikels "The Represemation of Marryrdoms du­ ring the Early Counrer-Reformation in Antwerp«, erschienen in: The Burlington Magazine, Vol. 118, No. 876, Man 1976, S. 128-138. Eine langere Srudie über dieses wichtige Kapirel der Kunsr­ geschichre, Religion und der Reprasenration von Marryrium und der Foher habe ich in Planung, doch hat sich der status questionis des spezifischen hier diskucierten Problems kaum geandert seirdem ich den Artikel geschrieben habe. lch nehme an, diese Situation wird sich bald andern, besonders im Lichre der Arbeir von Carolin Behrmann, Koenraad Jonckheere und der Autoren in diesem Band. Hier beschranke ich mich lediglich darauf, die wichtigsren bibliographischen Erganzungen nachzu­ rragen und einige (mitnichren aile) der /acunae und Fehler des Originalrexres anzugehen. Ein beson­ derer Dank geht an Koenraad Joenckheere, der die ausgezeichneren Bildvorlagen besorgr har. 1 Sowohl ich ais jetzt auch Natasja Peerers sind überzeugt, dass das Marryrium der Heiligen Crispi­ nus und Crispinianus auf keinen Fall Hieronymus Francken zugeschrieben werden kan n, so wie es oft geschehen ist, ais ich diesen Artikel verfasst habe. Die Flügel des Altares werden heure in der Sim-Carolus Borromeuskerk in Antwerpen aufbewahrt. Meine eigene Arbeit über die Francken­ brüder, in der Originalversion des Artikels und in meiner Dissertation (wie Anm. 3) ist heute voll­ standig abgelost worden von der exzellemen Srudie von Peeters. In ihrer noch unveroffendichten Dissertation widmet sich Peeters dem Werk der Brüder Frans und Ambrosius Francken, siehe Nas­ tasja Peerers, Tussen continuïteit en vernieuwing. De bijdrage van Fram en Ambrosius Francken I, en de jonge generatie Francken, tot de historieschilMrkumt te Antwerpen ca 1570-1620, (PhD Dissertation) Vrije Universiteit Brussels, 2000. Die Arbeit ist in Auszügen bereirs erschienen, so z.B.: Dies.: "Frans 1and Ambrosius 1 Francken, painrers ofthe metropolis Antwerp, and their altarpieces in the years just after the fall ofAntwerp (1585-1589)«, in: Jaarboek Koninklijk Museum voor Schone Kum­ ten, Antwerpen 2003, S. 68-91; Dies., ,.Resilience and enrerprise: the Francken-Brorhers in the years between the lconoclasm and the Spanish Fury (1566 - 1576), in: The quest ftr the original: underdrawing and technology in painting. symposium XVI, Bruges, Seprember 21 sr, 22nd and 23rd, 2006, hg. von Hélène Verougstraere und Colombe Janssens de Bisthoven, Leuven lu.a.]: Peerers, 2009, S. 87-93; oder dies.: "From Nicolaas co Constantijn: the Francken family and their rich arri­ stic heritage (c. 1550-1717)«, in: Family ties: art production and kimhip patterns in the early modern Low Countries, hg. von Koenraad Brosens, Leen Kelchrermans und Kadijne van der Stighelen, Turnhour: Brepols, 2012, S. 103-117. FREEOBERG MiiRTYRERBILOER ANTWERPENS 183 Abb. 2: Ambrosius Francken, Szenen aus Abb. 3: Ambrosius Francken, Szenen aus dem Martyrium der Heiligen Crispintts dem Martyrium der Heiligen Crispinus und Crispinianus, 01 auf Holz, und Crispinianus, 01 aufHolz, rechrer Altadlügel, Amwerpen, linker AltarAügel, Antwerpen, Sr. Carolus Borromeus-kerk Sr. Carolus Borromeus-kerk Soweir mir bekannt ist, wurde diese spezifische Vorliebe für Marryrerszenen Ende des 16. Jahrhunderrs in Antwerpen bis heure weder umfassend diskuriert, noch in ihrem Konrexr erartert.2 Der vorliegende Text widmet sich diesen Bildern, wobei keine definitiven Anrworren gegeben werden kannen, sondern vielmehr ei­ Abb. 1: Ambrosius Francken, Martyrium der HeiLigen Crispinus und Crispinianus, nige zentrale Fragen gestellt werden sollen. Nicht aile Dokumenre, die Lichr aufdie 01 aufHolz, Amwerpen, Koninklijk Museum voor Schone Kunscen Bedcurung dieser Gemalde werfen kannren, wurden bislang ausfindig gemacht und nur einige wenige der Zuschreibungsfragen kannen an diesem Punkt definitiv gelasr werden. 2 Zum Bildsujer des Martyriums im Kontex! des niederlandischen BilderslUrms fehl! bis heure eine umfassende SlUdie. 184 FREEDBERG MA.RTYRERBI LDER ANTWERPENS 185 Zwei bedeurende Ereignisse bilden die hisrorischen Eckdaren für die Unrersu­ chung der Anrwerpener Marryrien: der Bildersrurm des Jahres 1566 und der soge­ nannre »srille Beeldestorm« von 1581. Jene verheerenden ikonoklasrischen Bildzer­ srorungen, die sich 1566 in den Nieder/anden vollzogen und in Anrwerpen auf die Tage des 21. und 22. Augusr zu darieren sind, wurden von Kunsrhistorikern bis vor Kurzem kaum in die Analyse der Kunsrwerke mir einbezogen, obgleich die hisrori­ schen Derails lange bereirs bekannr waren.3 Zahlreiche Kunsrwerke fielen diesem ersren Bildersrurm zum Opfer, doch konnren einige rrorzdem gererrer werden und der karholische Kirchendiensr wurde kurz danach bereirs wieder aufgenommen. Das Ansehen einiger Künsrler, im Besonderen das von Marren de Vos,4 ist mir der Ausführung jener A/rargemalde in Verbindung zu bringen, die nach dem Bilder­ srurm in Aufrrag gegeben worden waren, um die zersrorren Kunsrwerke zu erser­ zen. In Reakrion auf diese Zerstorungen beeilren sich einige Theologen, die Bilder zu verreidigen, um die hefrige proresranrische K.ririk am Bilderkulr zu etwidern und weirere Zersrorungen zu verhindern. Ein Kern ihrer Argumenre besrand hier­ bei in der Anweisung des Tridenriner Konzils, dass die Bilderprodukrion unrer kirchliche Aufsichr gesrellr werden müsse. 5 Der darauffolgende, eher ais friedlich zu bezeichnende »stille Beeldestorm« voll­ zog sich 1581 in Anrwerpen, nachdem der kurz vorher gewahlre calvinisrische 5radrrar die sysremarische Enrfernung der Bilder aus den orrlichen Kirchen veran­ 3 Die Literarur zum Thema Bildersturm in den Niederlanden ist seit 1976 besrandig angewachsen und kann hiet nicht wiedergegeben sondern nur angedeulet werden. Zwischen meiner eigenen Ar­ beit: David Freedberg, lconocLasm and painting in the revoit ofthe NetherLands, 1566-1609, (PhD Dissertation, University of Oxford, 1972), New York: Garland, 1988 und jüngst meine Einleitung "Art Mer lconoclasm: Painring in rhe Netherlands between 1566 and 1585«, in: Art After Jcono­ cLasm: Painting in the NetherLands between 1566 and 1585, hg. von Koenraad Jonckheere und Ruben Suykerbuyk, Turnhout: Brepols, 2012, S. 21-49, sind neben einigen Einzelsrudien (hier hervorzuheben: Solange Oeyan und Alain Louin, Les casseurs dëté 1566 LïconocLasme dans le nord, Villeneuve d'Ascq: Presses Universitaites de Lille/Westhoek, 1986), zahlreiche Aussrellungskataloge zum Thema Bildersturm erschienen, wie z.B. Bifdersturm. Wahnsinn oder Gottes Witte?, hg. von Cécile Dupeux, Perer Jezler und Jean Wirth, München: Wilhelm Fink, 2000. Ais diese Überarbei• rung meines Artikels von 1976 in den Druck ging erschien die Arbeit von Koenraad Jonckheere, Antwerp after lconocLasm. Experiments in Decomm 1566-1588, Brussels: Mercarorfonds, 2012. Jon­ ckheeres Arbeit wird den Bildern gerecht, die in der Zeit zwischen 1566 und 1585 enrstanden und zudem auch den Folgen des Ikonoklasmus von 1566 für die Kunst thematisiertcn, was ich bereits 1972 diskuriert habe, und hier nun endlich vor dem Hinrergrund der neuesren Forschungen auf den lemen Stand gebracht worden isr. 4 Zu Vos siehe die Monographie von Armin Zweite, Marten de Vos ais Maler: ein Beitrag zur Ge­ Abb. 4: Ambrosius Francken, Beinwunder Abb. 5: Ambrosius Francken, Martyrium schichte der Antwerpener Mal.erei in der zweiten Hii/fte des 16. Jahrhundem, Berlin: Mann, 1980; und der HeiLigen Cosmos und Damian, der HeiLigen Cosmos und Damian, jüngst Jonckheere 2012 (wic Anm. 3). 01 auf Holz, A1tarAügel, Antwerpen, 01 aufHolz, A1tarAügel, Antwerpen, 5 Die Forschungslirerarur ist zu umfangreich, um hier angeführt werden zu konnen. Freedberg 1988 Koninklijk Museum voor Schone Kunsten Koninklijk Museum voor Schone Kunsten (1972) (wie Anm. 3), S. 38-95 srellt eine Liste mit den fur die Fragestellung relevanren Namen der Auroren des 16. Jhs. zusammen, doch diese benotigt weitere Überarbeitung. Siehe auch: David Freedberg, "The Problem ofImages in Narrhcrn Europe and its Repercussions in the Netherlands«, in: Hafnia. Copenhagen Papers in the History ofArt, 1976, S. 25-45, und allgemeiner Christian Hecht, Katholische Bifdertheofogie der frühen Neuzeit: Studien zu Traktaten lion Johannes MoLanus, Gabrie!e Paleotti und anderen Autoren, [2. Aufl.] Berlin: Mann, 2012. 186 FREEDBERG MÀRTYRERBILDER ANTWERPENS 187 Abb. 6a und b: Ambrosius Francken, DiokLetian verurteiLt den HeiLigen Sebastian Abb. 7a und b: Ambrosius Francken, Zwei Szenen aus den Martyrium des Heiligen Georg, und Sebastian wird mit Stockhieben gesch!4gen, 01 auf Holz, A1tarflügel, Antwerpen, 01 aufHolz, A1tarAügel, Antwerpen, KoninkJijk Museum voor Schone Kunsren KoninkJijk
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