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Enthüllungen. Restaurierte Kunstwerke Von Riemenschneider

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Enthüllungen. Restaurierte Kunstwerke Von Riemenschneider 28 Bildwerkund Reliquiar Eine Muttergottes aus der Werkstatt Riemenschneiders Ausdem Münchner Kunsthandel erwarb das Germanische Natio- Die Zuschreibungsfrage nalmuseum 1907 eine Halbfigur der Muttergottes, die bis heutezu den schönstender hier aufbewahrtenmainfränkischen Arbeiten Offenbar warenvor allem mainfränkische Provenienz – damals der Spätgotik zählt (Abb. 1). Der Bestimmungsortder Holzskulp- erklärtesDesiderat auf dem Gebietspätmittelalterlicher Skulptur tur istunbekannt. Angeblichsoll sie an der Fassade eines Privat- in der Sammlung des Museums – und unzweifelhafthohe Qualität hauses in der Nähe vonWürzburg gestanden haben. Ihr ursprüng- des Stücks für den Ankauf ausschlaggebend. Hinsichtlichder licher Platz wardas sicherlichnicht. Wann und wie sie dorthin genauen Zuordnung dagegen bestand vonAnfang an Unsicher- gelangte, istebenso unklar wie der Zeitpunkt der kolportierten heit. Während das StückimAnzeiger des Germanischen National- Übertragung an einen Würzburger Händler namens Schmitt, der museums 1907 nämlichals »Holzskulptur vonTilman Riemen- sie an den dortigen Juristenund Universitätsprofessor Robert schneider« vorgestellt wurde, istdie Notiz im etwa gleichzeitig Piloty vermittelte. Vondaging sie in den Besitz des Pariser Kunst- gedruckten Jahresbericht weniger enthusiastisch. Wiewohl hier sammlersAlphonse Kann über,umschließlich1907inMünchen voneinem »Meisterwerk« gesprochen wird, heißt es einschrän- aufzutauchen. kend, dass das Bildwerk»nachCharakteristik der Formenbe- Die als Halbfigur abgebildete Jungfrau trägt das nackteKind, handlung und Adel des Gefühls der Hand Riemenschneiders das sein Hauptfrontal zum Betrachter wendet, über der linken durchaus würdig« sei. Demnachhatteman wohl raschander Hüfte und präsentiertesvor ihrem Leib. Mit der Linken drückt sie Eigenhändigkeit des großen Bildschnitzerszuzweifeln begonnen den Körper des Säuglings fest an sich, während sie mit der Rech- und vonder definitiven Zuschreibung Abstand genommen. tenseinen linken Unterschenkel behutsam stützt. Außerdem Man betrachtete die Figur jetzt, wie es nochdeutlicher die später dreht sie den Oberkörper leicht in Richtung des Knaben und angelegteInventarkartedes Museums dokumentiert, als Arbeit in neigt ihr Antlitz – den Beschauer huldvoll im Blick – sanftzur der »Art Riemenschneiders«. Die nachfolgende Literatur führtsie Seite. In spannungsvoller Sichelformkomponierte der Bild- als Werkstattprodukt des Würzburger Meisters,und der Katalog schnitzer den kleinen, vonüppigen Fettpolstern gekennzeich- der 2004veranstaltetenAusstellung zur Kunstdes berühmten netenKörper des Jesusknaben vorden seiner Mutter.Während Bildnersbezeichnetsie angesichts der Komplexität eines unter das Kind mit der Rechtensein Knie berührt, ergreiftesmit der schöpferischer Leitung effektiv organisierten, routiniertarbeiten- Hand des linken, nachunten gestrecktenArmsden lockerüber den spätmittelalterlichen Atelierbetriebs und daher in letzter das HauptMariens gezogenen Schleier.Außerdem trägt die Präzision nicht zu trennender Anteile der kooperativ erbrach- Mutter ein Kleid mit breit gesäumtem Ausschnitt, das unter der tenLeistung als Arbeit von»Tilman Riemenschneider und Werk- Brustgegürtet istund über dem BauchplisseeartigeFalten wirft. statt«. Ihr um die Schulterngelegter Mantel umfängt den linken In der Tatlegen besondersdie flächigeAusprägung und breite Unterarm,zieht sichinfaltenreicher Komposition breit geschürzt Dimensionierung des Mariengesichtes sowie seine vonauffallend vorden Unterleib und fällt bewegt über die profilierte,aus dem- schmalem Nasenrücken, zusammengepresstenLippen und leicht selben HolzblockgeschnitztePlinthe, auf der sichdas Bildwerker- schräg angeordnetenAugenmandeln charakterisierte Stilisierung hebt. des Riemenschneiderschen Formenrepertoires die Hand eines versiertenSchülersoder Mitarbeitersnahe. Nicht zuletzt über- rascht das knochig erscheinende Kinn und die vondaher rühren- den hartenZügeder unteren Wangenkontur,die Riemenschneider sonsteher zur Charakterisierung männlicher denn weiblicher Ge- Abb. 1Muttergottes, Werkstatt Tilman Riemenschneider,Würzburg, sichter einsetzte. Erklären ließe sichdiese eigentümliche Artder um 1520. Zustand nachder Restaurierung Formgebung durchdie Beauftragung einer im stilistischen Kanon 29 Abb. 2Muttergottes im Rosenkranz (Detail), Werkstatt Tilman Riemen- schneider,1521–1524.Volkach, Wall- fahrtskirche Maria im Weingarten des Werkstattvorstands gut geschulten Kraft, die den vorgegebe- werklichbrillanteAusführung des Bildwerks auf den Werkstatt- nen Bildtyp wie das formal vorbildhafte Stilgut qualitätvoll umzu- leiter und einen hochbegabten, hervorragend geschulten Mitar- setzen wusste,der es jedochanschöpferischem Einfühlungsver- beiter verteilt. mögen und auf eigener Kreativitätfußender Variationsfähigkeit Der vonder Nürnberger Skulptur vertretene Figurentypus mit mangelte. So gesehen wärenkompositionelle Erfindung und hand- seiner charakteristischen Komposition der Körper und seinem 30 einprägsamen Draperieschema istimWerkRiemenschneiders ist, liegt nahe. Ausgehend vomurkundlichverbürgten Entste- vielfachvertreten. Man findetihn in Ganzfiguren der Mutter- hungsdatum der Skulpturengruppe für die Volkacher Weinberg- gottes im Badischen Landesmuseum in Karlsruhe und im Baye- kirche kommen die Jahreum1520, die Spätzeit der Riemenschnei- rischen Nationalmuseum in München (Zweigmuseum Veste der-Werkstatt, daher auchfür das bisher gemeinhin ein halbes Rosenberg in Kronach), in einer StatuetteimMainfränkischen oder ganzes Jahrzehnt früher datierte Nürnberger StückinBe- Museum in Würzburg und einer Madonna im Kunsthistorischen tracht. Museum in Wien, deren Knabe dem Nürnberger Kind bis in die Haltung der Arme gleicht1.Spiegelverkehrtdokumentieren den Typetwadie im höchstenMaße bezaubernde Madonna der Befunde zu Herstellungstechnik und Objektgeschichte Berliner Skulpturensammlung aus Tauberbischofsheim und die Muttergottes im Kunsthaus Zürich, jene im Hamburger Museum »Lindenholz, abgelaugt« liestman bis heuteauf den Beschriftun- für Kunstund Gewerbe, im LiebieghausinFrankfurtamMain genzur Technik der Madonnenfigur.Ganz selbstverständlicher- sowie die Mittelfigur des Flügelretabels aus Gerolzhofen, heute klärtdie kurzeFormulierung einen Zustand, der für zahlreiche im Bayerischen Nationalmuseum2.Keines dieser Stücke ist Skulpturen gilt, deren ursprüngliche Oberflächengestaltung aus jedochvon einem ähnlichflachen und breit geformtenAntlitz der einer farbigen Fassung mit Metallauflagen und Verzierungen zu- Jungfrau gekennzeichnet. Nurdie Muttergottes aus dem Gram- gunsteneiner holzsichtigen Erscheinung vollständig abgenom- schatzer Flügelschrein, jetzt in der Niedersächsischen Landes- men wurde. Die Holzoberflächen beließ man dabei nie roh, son- galerie in Hannover, weistannähernd fest aufeinandergepresste dernpatinierte sie mit unterschiedlichen Lasuren und Überzügen. Lippen und einen vergleichbar herben Zug um Kinn und Wangen Zum Zeitpunkt ihres Ankaufs befand sichunser Stückvermutlich auf. bereits seit einigen Jahrzehnten in diesem Zustand. Dabei lässtdie Ein im Vergleichmit dem Nürnberger Bildwerkähnlichgebau- Beschreibung im Bestandskatalog von1910keinen Zweifel daran, tes, vonbreit gelagertenUnterkieferknochen und relativ flachen dass es ursprünglichgefasstwar5. Wangen geprägtes Gesicht kennt allein die Rosenkranzmadonna in der Wallfahrtskirche»Maria im Weingarten« bei Volkacham Main (Abb. 2). Die ältereForschungsliteratur sah in den auffallend routiniertenZügen der Skulptur,mit der Riemenschneider 1521 beauftragt worden warund die er 1524 abgelieferthatte, der »Ver- simpelung der Motive« und der »Plumpheit« ihrer Einzelformen, deutliche Ausweise eines künstlerischen Alterswerkes. Justus Bier deutete die Tatsache, dass dort»im einzelnen vieles harsch und trocken« ausgeführtist,dagegen zutreffender als Indiz für die weitgehend selbständigeArbeit eines Gehilfen nachVorgabe des Meisters3.Inder Tatschuf Riemenschneider im gleichen Alter das großartigeGrabdenkmal für Bischof Lorenz vonBibraimWürz- burger Dom, ein Dokument kraftvoller Kreativität ohne Anzeichen künstlerischer Ermüdung4. Möglicherweise hattedas damals vomBildschnitzer bekleidete Bürgermeisteramt mit seinen Beanspruchungen zu nochumfang- reicherer Verpflichtung vonMitarbeiternAnlass gegeben, so dass die Ausführung der Rosenkranz-Gruppe in weiten Teilen bis hin zur Hauptfigur einem Mitarbeiter seines Vertrauens übertragen worden war. Mehr als die langjährigeZugehörigkeit zur Riemen- schneider-Werkstatt lässtsichüber den ausführenden Schnitzer allerdings nicht mutmaßen. Als Persönlichkeit, »die selbständiges Interesse beanspruchen darf«, betrachtete ihn Justus Bier ohnehin nicht, hatteersichdie vonseinem Lehrer kreierte Formenwelt dochvollkommen zu eigen gemacht und somit dessen künstleri- scher Handschriftgänzlichuntergeordnet. Aufjeden Fall istdie Volkacher Madonna das Werk,das der Muttergottes im Germanischen Nationalmuseum am engstenver- wandt ist. Dass ihr Autorauchals jener der Halbfigur anzusehen Abb. 3Muttergottes, Rückseite 31 Abb. 4Muttergottes, Schädelkalotte, mit Holzdübel verschlossenes Bohr- loch(1), dreiflügelige, eingeschnittene Vertiefung um ein mit Steinkreide gefülltes Bohrloch(2) und fünf Löcher mit Holzrestenvon der Befestigung eines Kopfschmucks (3) Die 68 cm hohe Halbfigur der Madonna istaus Lindenholz ge- schnitzt6.Das Holz zeigt Unregelmäßigkeiten im Wuchs; mehrere Äste sind zu erkennen, vorderseitig findetsichzentral ein großer Astansatz auf Höhe der linken Hand. Um das Gewicht zu reduzie- renund Rissen im Holz
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