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Eine Ästhetik Der Kunstphotographie Im Internationalen Kontext (1891-1914)

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Eine Ästhetik Der Kunstphotographie Im Internationalen Kontext (1891-1914) Eine Ästhetik der Kunstphotographie im internationalen Kontext (1891-1914) Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophischen Fakultät der Heinrich-Heine-Universität Düsseldorf vorgelegt von Kristina Lowis aus Mönchengladbach Disputation 28. Juli 2003 Erstes Gutachten von Prof. Dr. Hans Körner Zweites Gutachten von Priv.-Doz. Dr. Jürgen Wiener D61 Dank Während der Arbeit an der vorliegenden Dissertation war mir die Unterstützung durch die nachstehend genannten Personen eine wertvolle Hilfe. Ich möchte mich bei ihnen dafür ausdrücklich bedanken. Am Seminar für Kunstgeschichte sind dies Herr Prof. Dr. Hans Körner, der von Anfang an Vertrauen in das Projekt gesetzt hat und mir immer wichtiger Ansprechpartner war ebenso wie Herr Priv.-Doz. Dr. Jürgen Wiener, der speziell in der Schlussphase konstruktiv Kritik geübt hat. In Paris waren es diejenigen, die das Interesse an Photographie zu schüren wussten und mir darüber hinaus die von ihnen betreuten Sammlungen zugänglich gemacht haben: Sylvie Aubenas in der Bibliothèque nationale und Michel Poivert in der Société française de photographie. Dank gilt auch ihren Mitarbeitern und jenen der Bibliothek des Kölner Museums für angewandte Kunst, deren verlässliche Hilfestellungen meine Recherche und Dokumentation erleichtert haben. Motiviert haben mich immer wieder diejenigen, die mit Interesse das Thema und seine Entwicklung verfolgt und daran geglaubt haben. Im besonderen Anya Reichmann, Silke Tofahrn und Marlies Lowis, ohne deren Lektüre und Korrekturen der Text Rohmaterial geblieben wäre. Vor allem bin ich dankbar für die Präsenz von Julien Trillat, der auch die Abbildungen in eine zeitgemässe Form zu bringen und stets die Ruhe zu bewahren wusste. Eine Ästhetik der Kunstphotographie im internationalen Kontext (1891-1914) Einleitung 6 I. Piktorialismus international 11 I.1. Auftakt 11 I.1.1. Robert Demachy, ein Piktorialist 13 I.1.1.1. Werdegang eines Kunstphotographen 15 I.1.1.2. Das schriftliche Werk 18 I.1.1.3. Ansätze einer ästhetischen Theorie bei Demachy 25 I.1.1.4. Polemische Auseinandersetzungen 27 I.1.1.5. Das Ende des kunstphotographischen Engagements 29 I.2. Vereinte Amateure 33 I.2.1. Eine internationale Bewegung formiert sich 34 I.2.1.1. Österreich 35 I.2.1.2. Großbritannien 37 I.2.1.3. Deutschland 38 I.2.1.4. Frankreich 39 I.2.1.5. Belgien 40 I.2.1.6. Andere Länder 41 I.2.1.7. Nordamerika 43 I.2.1.8. Nationale Differenzen 44 I.2.2. „Malheur à ceux qui travaillent seuls“ 47 I.2.3. Amateure und Professionelle 50 I.2.3.1. Photographinnen 54 I.2.4. Kunst außerhalb der Akademien 57 I.2.5. Erziehung zur Kunst 60 I.2.5.1. Alfred Lichtwark und die Kunstphotographie in Hamburg 63 I.3. Ergebnis 68 II. Der theoretische Rahmen 69 II.1. Robert de la Sizeranne: Ist Photographie Kunst? 71 II.2. Frédéric Dillayes Theorie zur Kunst in der Photographie 77 II.3. Was das Schöne sei 85 II.3.1. Vielstimmige Theoriebildung 85 II.3.2. Eine technikabhängige Ästhetik? 90 II.3.3. Länderspezifische Merkmale des Schönen 97 II.4. Die Besonderheit des photographischen Abbilds. Bernard Shaw. 101 II.5. Die Grundlagen kunstphotographischer Ästhetik. Willi Warstat. 109 II.5.1. Warstats Geschichte der künstlerischen Photographie 117 II.6. Ergebnis 127 III. Bildrahmen 128 III.1. Referenzen 130 III.1.1. Die Rolle der Bezugnahme im piktorialistischen Diskurs 134 III.2. Zeitgenössische Werkbezüge 139 III.2.1. Franz von Stucks photographisch konditionierte Malerei 141 III.2.2. Auguste Rodins Auffassung synthetischer Subjektivität 145 III.3. Die Frage der Analogien 148 III.3.1. Edgar Degas Momentaufnahmen in der Malerei 148 III.3.2. James McNeill Whistler. Ton und Sensibilität 154 III.3.2.1 Der photographische Bildausschnitt, Whistler und Japan 157 III.4. Orte im Bild 161 III.4.1 Piktorialistische Landschaften 161 III.4.2. Léon Lhermitte, ein zeitgenössischer Landschaftsmaler 165 III.4.3. Léon Spillaerts Bildatmosphären 169 III.4.4. Rodenbachs tote Stadt 172 III.5. Ergebnis 178 IV. Bild – Abbild 180 IV.1. Subjektive Bilder: Kindheit, Religion, Musik, Akt. 182 IV.2. Der Kontext psychologischer Fragestellungen 189 IV.2.1 Paul Chabaneix und das Unterbewußte in der Kunst 191 IV.2.2. Janet, psychischer Automatismus und automatisches Bild 198 IV.3. Kunst und Gefühl 203 IV.3.1. Konzeptionen für ein Gesamtkunstwerk 206 IV.3.2. Frederick Holland Day 209 IV.4. Aus der künstlerischen Verwandtschaft des Piktorialismus 212 IV.4.1. Eugène Carrière 212 IV.4.2. Medardo Rosso 217 IV.4.3. Maurice Maeterlinck 220 IV.5. Ergebnis 226 Abschließende Überlegungen 227 V. Bibliographie 232 VI. Abbildungen Bd 2 Anmerkung: Soweit nicht anders gekennzeichnet stammen die Übersetzungen ins Deutsche von der Autorin. Einleitung „Muettes analogies! Pénétration réciproque de l´âme et des choses! Nous entrons en elles, tandis qu´elles pénètrent en nous.“ Georges Rodenbach in Bruges-la-Morte 18921 Photographie ist heute eine alte Technik. Sie ermöglicht seit ihrer Erfindung das chemisch gestützte Abbilden optischer Wahrnehmung, und provoziert seit ebenso langer Zeit Diskussionen über ihr offenbar unbegreifliches Wesen. Außerhalb ihrer dokumentarischen Möglichkeiten wirft sie, wie jedes Bild, die Frage nach ihrer Bedeutung auf. Diese Frage beantworten Photographierende und Betrachtende sich meist individuell. Brisant wird es, sobald die Frage in einem übergeordneten Rahmen gestellt wird. Mehr als 160 Jahre nach der Nutzbarmachung photographischer Technik auch für Kunstzwecke scheint die Präsenz des Mediums auf kunsthistorischem Boden noch für Überraschungen zu sorgen. Besonders, wenn das Resultat eine Infragestellung verbindlich erscheinender Kunsthistoriographie ist. Innere und äußere Elemente künstlerischer Produktion bedingen sich gegenseitig. Das Ziel dieser Arbeit ist es, solche wechselseitigen Bedingungen im Zusammenhang mit der Kunstphotographie um 1900 aufzuzeigen. Als internationales Phänomen hauptsächlich von Amateuren betriebener Kunst entsteht der Piktorialismus um die Jahrhundertwende inmitten vielfältiger Einflüsse, die es für das Verständnis seiner Ästhetik zu beachten gilt. Die Annahme, daß eine piktorialistische Ästhetik sowohl in theoretischer als auch praktischer Form nachweisbar ist, bildet die Grundvoraussetzung der hier vorgestellten Studie. Darüberhinaus wird von der Analyse dieser Ästhetik erwartet, daß sie die kunsthistorisch-möglichen Blickwinkel erweitert. 6 Als photographischer Sonderweg lange von der Forschung vernachlässigt, kommt erst in den späten 1970er Jahren allmählich wieder Interesse an piktorialistischer Kamerakunst auf. 1979 veröffentlicht Margaret Harker mit der Unterstützung der Royal Photographic Society ein Buch über den Linked Ring, den elitären kunstphotographischen Verein Englands.2 Ein Jahr zuvor hatte Robert Doty seine Untersuchung der Photo-Secession und der amerikanischen Kunstphotographiebewegung unter Alfred Stieglitz präsentiert3 und auch die prestigeträchtige Zeitschrift Camera Work durfte sich erneuter Aufmerksamkeit erfreuen.4 In Brüssel ist 1983 eine repräsentative Ausstellung von Kunstphotographien um 1900 zu sehen.5 In Deutschland basiert die Forschung auf den von Fritz Kempe geschaffenen Grundlagen, und ist durch verschiedene Beiträge des Hamburger Museums für Kunst und Gewerbe ausgebaut worden, besonders durch den 1989 publizierten Bestandskatalog.6 1992 erweitert Michel Poivert mit seiner Dissertation über den französischen Piktorialismus die grundlegende Historiographie der kunstphotographischen Bewegung7, die im gleichen Jahr Gegenstand eines Symposiums in Edinburgh ist.8 1993 beherbergt das Rodin-Museum in 1 Rodenbach, Georges: Bruges-la-Morte, Brüssel: Labor, 1986, S.75: „Stumme Analogien! Gegenseitige Durchdringung der Seele und der Dinge! Wir gehen in sie, gleichzeitig dringen sie in uns.“ 2 Margaret Harker: The Linked Ring. The Secession Movement in Photography in Britain 1892- 1910, London: RPS, 1979 3 Robert Doty: Photo-Secession. Alfred Stieglitz and the Fine Art Movement in Photography, New York: Dover, 1978. Zeitgleich war im Metropolitain Museum of Art die Ausstellung The Collection of Alfred Stieglitz. Fifty Pioneers of Modern Photography zu sehen, Naef Weston editierte den gleichnamigen Ausstellungskatalog New York 1978. 4 Margolis, Marianne F.: Camera Work, a pictorial guide, New York: Dover, 1978 5 La Photographie d’Art vers 1900, Brüssel: Crédit Communal, 1983 6 Kunstphotographie um 1900. Die Sammlung Ernst Juhl, Herausgegeben vom Museum für Kunst und Gewerbe Hamburg, 1989 7 Michel Poivert: La photographie pictorialiste en France 1892-1914, Thèse Paris I, 1992. Eine Ausstellung des Département des Estampes et de la Photographie der Nationalbibliothek begleitet vom gleichen Autor: Le Pictorialisme en France, Paris: Hoebeke / Bibliothèque nationale (Collection le siècle d’or de la photographie) 1992 8 Photography 1900. The Edinburgh Symposium, Edinburgh: National Museums of Scotland, 1992 7 Paris eine Ausstellung internationaler Kunstphotographien und gibt dazu einen umfassend instruktiven Katalog heraus.9 Die erneute Präsenz piktorialistischer Bilder, die somit ihren internationalen Dornröschenschlaf beendet hatten, reizte in der Folge Organisatoren, diese in Ausstellungen zur Kunst der Jahrhundertwende zu integrieren. Dieser lobenswerte Ansatz sah sich allerdings in manchen Fällen konterkariert durch eine Hängung, die Anlaß gab, die Seriosität des kuratorischen Interesses zu bezweifeln: so waren in der großangelegten „1900“ Schau die Photographien weitgehend im Treppenhaus zu finden10, und italienische Kunstphotographien ließen sich hinter Stellwänden
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