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A Einleitung Der Stein trügt Die Imitation von Skulpturen in der niederländischen Tafelmalerei im Kontext bildtheoretischer Auseinandersetzungen des frühen 15. Jahrhunderts Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Ruprecht-Karls-Universität Heidelberg, Institut für Europäische Kunstgeschichte vorgelegt bei Prof. Dr. Lieselotte E. Saurma von Constanze Itzel aus Nürnberg 1 Vorwort Bei vorliegender Abhandlung handelt es sich um eine reduzierte Fassung meiner im Dezember 2003 an der Ruprecht-Karls-Universität Heidelberg eingereichten Dissertation. Eine bebilderte Druckversion befindet sich in Vorbereitung. Thema der vorliegenden Arbeit ist die Imitation von Skulpturen in der niederländischen Tafelmalerei, ein Phänomen, dem schon sehr viel Forschungszeit gewidmet wurde. Sollte es dennoch gelungen sein, weiterführende Ergebnisse zu erzielen, so ist dies nicht zuletzt der Hilfsbereitschaft zahlreicher Personen zu verdanken. Frau Prof. Dr. Lieselotte E. Saurma hat die Arbeit mit großem Engagement begleitet, viel Zeit und Geduld für anregende Gespräche aufgebracht und Abwege rechtzeitig aufgezeigt. Ihrer fördernden Unterstützung gilt mein größter Dank. Dem Zweitgutachter Herrn Prof. Dr. Johannes Tripps danke ich für sein offenes Ohr und seinen wertvollen fachlichen Rat. Danken möchte ich darüber hinaus folgenden Damen und Herren für ihre kompetente Hilfe: Anna Bartl, M.A., Basel; Dr. Sophie Guillot de Suduiraut, Paris; Holger Guster, M.A., Wiesbaden; Ilka Herrmann, M.A., Heidelberg; Dr. Daniel Hess, Nürnberg; Ingrid-Sibylle Hofmann, M.A., Heidelberg; Kim Hust-Korspeter, Kaisers- lautern; Dr. Renate Kroos, München; Manfred Lautenschlager, M.A., Basel; Dr. Ariane Mensger, Heidelberg; Pfr. Karl Scheidhauer, Kaiserslautern; Dagmar Schumacher, M.A., Karlsruhe; Prof. Dr. Matthias Untermann, Heidelberg; Andrea Wähning, Karlsruhe; Dr. William Whitney, Paris. Für die große Hilfe bei der sprachlichen Verfeinerung des Textes sei Sylvia Beiser, M.A., Sandra Debs, Christine Mann, M.A., Sibyl Scharrer, M.A. und Stephanie Tripke, M.A. herzlich gedankt. Dank der finanziellen Unterstützung der Landesgraduiertenförderung Baden- Württemberg war es mir möglich, in unabhängiger Konzentration kontinuierlich an dem Thema zu arbeiten. Von vitaler Bedeutung für das Promotionsvorhaben war darüber hinaus der Rückhalt im privaten Umfeld. Mein wärmster Dank gilt deshalb Heidi und Peter für die zweite Heimat und ganz besonders Christian, Heide und Werner für die unermüdliche Unterstützung und Ermunterung. 2 Inhaltsverzeichnis Vorwort............................................................................................................................................ 2 Inhaltsverzeichnis............................................................................................................................ 3 I. Einleitung ..................................................................................................................................... 5 1. Forschungsthesen zur Imitation von Skulpturen...............................................................7 a. Ergänzung und Ersatz realer Skulptur........................................................................ 8 b. Gemalte Skulptur als Paragonemotiv.......................................................................10 c. Skulpturenimitation im Dienst des Realismus .........................................................12 2. Bewertung der Forschung ..............................................................................................14 a. Terminologie .............................................................................................................14 b. Methodik ...................................................................................................................16 c. Inhaltliche Schwerpunkte .........................................................................................18 3. Zielsetzung der Arbeit....................................................................................................25 a. Fragestellung .............................................................................................................25 b. Geographischer und zeitlicher Rahmen ...................................................................27 II. Die spätmittelalterliche Bilddebatte in den burgundischen Niederlanden.............................34 1. Der Bilderstreit in der ersten Hälfte des 15. Jahrhunderts..............................................34 a. Zur Entstehung der spätmittelalterlichen Bilddebatte..............................................34 b. Die Konzilien von Konstanz und Basel ...................................................................35 c. Zum bildtheoretischen Schrifttum prominenter Theologen.....................................38 2. Bilddebatte und Häresie in den südlichen Niederlanden................................................40 a. Predigten und Traktate..............................................................................................40 b. Anhängerschaften der Hussiten................................................................................42 3. Die Auseinandersetzung mit hussitischen Thesen in Tournai.........................................45 a. Der Fall Gilles Mersault............................................................................................46 b. Das Traktat Mersaults und verwandte Schriften......................................................48 c. Zum Erfolg häretischer Thesen in Tournai ..............................................................51 d. Klerus und Künstler als Adressaten häretischer Kritik............................................55 3 III. Die Imitation von Skulpturen im Kontext bildtheoretischer Auseinandersetzungen...........64 1. Kritik am Bildgebrauch..................................................................................................66 a. Die Gleichsetzung von Darstellung und Dargestelltem...........................................66 b. Maßnahmen zur Verbesserung des Bildgebrauchs..................................................72 c. Bildhaftigkeit als Rezeptionshilfe?...........................................................................77 2. Bildkritik........................................................................................................................85 a. Dreidimensionalität und Beweglichkeit ...................................................................85 b. Materieller Reichtum................................................................................................97 c. Lebensechtheit und Wirklichkeitsnähe...................................................................103 d. Bilder als „Libri falsi“............................................................................................114 e. Skulpturenimitationen als ideale Bilder?................................................................124 3. Anleitung zur Bildrezeption .........................................................................................124 a. Stein und Holz.........................................................................................................125 b. Künstlichkeit und Leblosigkeit...............................................................................128 c. Von der Darstellung zum Dargestellten .................................................................138 4. Bildrezeption und Bildgestaltung .................................................................................153 IV. Schlussfolgerung und Ausblick............................................................................................158 Literaturverzeichnis.....................................................................................................................165 4 I. Einleitung Zahlreiche niederländische Retabel des 15. Jahrhunderts präsentieren auf den Außenseiten täuschend echte Imitationen steinerner Nischenfiguren. Heilige oder die Verkündigung werden in Steinfarbe und in so perfekter statuarischer Manier präsentiert, dass die malerische Ausführung oft erst auf den zweiten Blick zu erkennen ist. Die ältesten erhaltenen Tafeln mit diesem Bildmotiv stammen aus den Werkstätten der prominentesten Vertreter der frühen niederländischen Malerei.1 Sie werden den rekonstruierten Werkkomplexen um Robert Campin, Rogier van der Weyden und die Brüder van Eyck zugeordnet.2 Zum Campin'schen Werkkomplex zählen die Trinitätstafel in Frankfurt,3 eine Tafel mit Jakobus dem Älteren und Clara in Madrid4 sowie das Schächerfragment mit Johannes dem Täufer in Frankfurt.5 In der Brüsseler Werkstatt Rogier van der Weydens entstand kurz vor der Jahrhundertmitte das Weltgerichtsretabel in Beaune.6 Der Rogier-Nachfolge wird ferner das Edelheer-Triptychon in Löwen zugeschrieben.7 Aus den Werkstätten Hubert und Jan van Eycks stammen die beiden Johannesfiguren des Genter Altars8 sowie die Verkündigungen des Dresdner Marientriptychons9 und 1 Für die vorliegende Internetpublikation wurde auf Abbildungen verzichtet, da sich eine Verlagsversion in Vorbereitung befindet. Die meisten der behandelten Werke sind in leicht zugänglichen, gut bebilderten Editionen nachzuschlagen. Auf diese wird im Text nach folgendem System verwiesen: Grundsätzlich wird bei jeder Erwähnung eines Werks eine Abbildungsquelle genannt. Von dieser Regel ausgenomen bleiben die in der Einleitung genannten 13 Werke, die im Mittelpunkt dieser Arbeit stehen. Da es den Text erheblich belasten würde, jedes Mal auf eine Abbildung zu verweisen,
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