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Meister Um Rembrandt MEISTER UM REMBRANDT VORLÄUFER SCHÜLER ZEITGENOSSEN MEISTER UM REMBRANDT VORLÄUFER SCHÜLER ZEITGENOSSEN MEISTER UM REMBRANDT VORLÄUFER SCHÜLER ZEITGENOSSEN Mit Beiträgen von Anne Auber, Jan Kelch, Gode Krämer Werner Schade, Werner Sumowski KÜNSTLERVERZEICHNIS Einleitung Große Namen bleiben nicht ohne Einfl uss auf das, was wir erwarten oder uns vorstellen. Wenn heute Aus- BACKER, JACOB A. ................................................................................................................................43, 44 stellungen holländischer Gemälde, Zeichnungen und Radierungen des 17. Jahrhunderts prominente Namen im Titel führen, sich u. a. wiederholt auf Rembrandt berufen, so gilt es zu prüfen, ob dieser klangvolle Bezug BEGA, CORNELIS ..........................................................................................................................................46 inhaltlicher Kennzeichnung dient oder als Werbemaßnahme zu nehmen ist. Zweifellos ist es nicht zulässig, BOL, FERDINAND ................................................................................................................................... 20, 21 eine Holländer-Schau mit dem Namen Rembrandts zu überschreiben, zu der dieser selbst wenig beizutragen hat. Rembrandts Kunst hat schon früh hohe Anerkennung gefunden und weitreichenden Einfl uss ausgeübt. CROOS, ANTHONIE VAN DER ..................................................................................................................... 54 Hollands größter Künstler ist groß auch in der Rezeption durch Andere. In der Auseinandersetzung mit ihm und seiner Ausstrahlung entsteht der Eindruck, sein Schaffen repräsentiere das holländische 17. Jahrhundert. DOOMER, LAMBERT .....................................................................................................................................42 Aber so partikularistisch wie die junge Republik, so verzweigt war auch die bürgerliche Kultur des Landes, die EECKHOUT, GERBRAND VAN DEN ............................................................................................................ 27 sich aus einer Vielzahl eigenständiger Zentren und einer Vielzahl eigenständiger Meister, die dort tätig waren, konstituierte. Als Künstler kannte man einander über die Grenzen der Städte und Provinzen hinaus, ging auch ELSHEIMER, ADAM ................................................................................................................................... 1 – 3 aufeinander ein, im Wesentlichen hat jedoch jeder eigene Ziele verfolgt. Rembrandt kann nicht für das Ganze stehen, natürlich nicht für einen Frans Hals, Jacob van Ruisdael, Jan Vermeer van Delft und viele andere mehr. FABRITIUS, BAREND ....................................................................................................................................26 FABRITIUS, CAREL .......................................................................................................................................25 Er steht jedoch für diese Präsentation, die in ihrer überwiegenden Mehrzahl Werke vor Augen führt, die ihm eng verbunden sind und unter denen er auch selbst vertreten ist. Es wäre unbescheiden, hier ein Gemälde FLINCK, GOVERT ................................................................................................................................... 28 – 30 seiner Hand zu erwarten, eine Spezies, deren zahlenmäßiger Umfang durch die Forschungen der letzten Jahre GELDER, AERT DE ................................................................................................................................. 34, 35 überschaubar geworden ist und nur noch selten auf den Markt gelangt. Hand- und druckgrafi sche Arbeiten Rembrandts kompensieren jedoch diesen „Verlust“. Seine Zeichnungen, sofern sie bildmäßigen Anspruch ver- GOUDT, HENDRICK ........................................................................................................................................ 5 treten, und die Radierungen wollen als eigenständige Kunstwerke genommen werden. Sie sind den Gemälden ranggleich zur Seite zu stellen. Wenn sich der Ruhm Rembrandts bereits zu Lebzeiten über weite Teile Europas HOOGSTRAATEN, SAMUEL VAN ...........................................................................................................31, 32 verbreitet hatte, so ist dies in erster Linie seinen Radierungen zu verdanken, die begeistert gesammelt wurden HULSMAN, JOHANN ....................................................................................................................................... 4 und auch heute noch in ausgewählten Beispielen zu haben sind, darunter der eindrucksvolle „Triumph des Mardochai“ von 1641, der auf einen Kupferstich des verehrten Lucas van Leyden zurückgeht, oder das berühmte KONINCK, PHILIPS ................................................................................................................................ 36 – 38 „Hundertguldenblatt“ von 1647/49, das in der Figurenkomposition mit Raffaels „Schule von Athen“ wetteifert. LIEVENS, JAN ......................................................................................................................................... 22 – 24 Mit den Leistungen der großen Meister der Vergangenheit hat sich Rembrandt von Beginn seiner Laufbahn MAES, NICOLAS ............................................................................................................................................ 33 an befasst. Er folgte darin dem Vorbild seines Lehrers Pieter Lastman, dem bedeutendsten Vertreter der „Prä- rembrandtisten“, jener Gruppe gleichgesinnter holländischer Historienmaler, die in der Konzentration auf Dar- MOEYAERT, NICOLAES .................................................................................................................................. 7 stellungen biblischen, insbesondere alttestamentlichen Inhalts die Voraussetzungen für die Kunst Rembrandts geschaffen haben. Dem Kreis um Pieter Lastman gehörten Nicolaes Moeyart (um 1592/93 – 1655) und Moy- MOLIJN, PIETER DE............................................................................................................................... 51 – 53 ses van Wtenbrouck (um1595 – 1647) an, die hier mit Gemälden zu sehen sind, deren betont landschaftliche OSTADE, ADRIAEN VAN............................................................................................................................... 45 Auffassung an Adam Elsheimer (1578 – 1610) denken lässt. Lastman hatte Elsheimer während seines Rom- Aufenthaltes studiert. Obschon urkundlich nicht belegt, haben sich vielleicht auch Moeyart und van Wten- OVENS, JÜRGEN ..................................................................................................................................... 40, 41 brouck vor Ort mit Werken des Deutschen auseinandergesetzt, für dessen erzählerisches Talent und miniaturhaft feine Malweise die auf dieser Ausstellung gezeigte „Flucht des Aeneas aus dem brennenden Troja“ zeugt. RIJN, REMBRANDT VAN ......................................................................................................................... 8 – 19 RUISDAEL, JACOB VAN ................................................................................................................................50 Nicht nur Rembrandt hatte bei Pieter Lastman gelernt, sondern vor ihm bereits Jan Lievens (1607 – 1647). In den Jahren zwischen 1625 – 1631 haben beide in Leiden miteinander eng zusammengearbeitet. Anfangs war VILLEERS, JACOB DE ...................................................................................................................................39 es Lievens, der Rembrandt beeinfl usste. Als er jedoch um 1630er Jahre den „Knaben mit entblößter Schul- VLIEGER, SIMON DE ............................................................................................................................. 47 – 49 ter“ malte, hatte sich das Verhältnis beider bereits verkehrt. Die feinmalerische Bildausführung und das subtil nuancierte Helldunkel setzen Rembrandts entwickelten Frühstil voraus. An Rembrandt hat Lievens jedoch WTENBROUCK, MOYSES VAN .......................................................................................................................6 nicht lange festgehalten. Stets offen für Geschmacksströmungen begann er, im fl ämischen Stil zu arbeiten, und 7 seine in dieser Manier mit dekorativem Ehrgeiz gestaltete Kompo sitionen haben Gefallen gefunden. Von diesen Werkstatt. In der Auseinandersetzung mit dem malerisch breiten Spätstil des Lehrers verselbständigen sich die Werken unterscheidet sich das um 1650/52 entstandene „Opfer Gideons“. Die tief leuchtende Farbpracht des Mittel. Farbe, Beleuchtung und Auftragstechnik erlangen ästhetisch eigenen Wert. Das mit hohem Raffi nement Bildes schmückt nicht, sie thematisiert. ausgeführte, ebenso geistvolle wie anstößige Täfelchen eines „Soldaten vor einem Bordell“ bestätigt dies. Als Govert Flinck (1615 – 1660) um 1635 in Rembrandts Amsterdamer Werksatt eintrat, hatte er bereits eine Eine deutliche Abgrenzung zwischen den Künstlern, die nachweisbar bei Rembrandt gelernt haben und jenen, Ausbildung bei Lambert Jacobsz in Leeuwarden absolviert. So ging es ihm allein darum, sich in der erfolgreichen die ihn sozusagen aus dem Umkreis beobachteten, ist aufgrund der mangelnden Quellenlage kaum zu ziehen. Malweise Rembrandts weiterzubilden, und er hat dies zunächst mit Hingabe getan. Die ausdrucksvolle Tronie mit Simon de Vlieger (um
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