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Maltechnische Und Soziale Diskurse in Spanischen Der Kunstliteratur Des Maltechnische und soziale Diskurse in der spanischen Kunstliteratur des 17. Jahrhunderts Dissertation zur Erlangung des Doktorgrades (Dr. phil.), eingereicht am Fachbereich Geschichts- und Kulturwissenschaften der Freien Universität Berlin im Jahr 2016 vorgelegt von Petra Schuster Gutachter: Betreuer und Erstgutachter: Prof. Dr. Werner Busch, Freie Universität Berlin Zweitgutachter: Prof. Dr. Joachim Rees, Freie Universität Berlin Tag der Einreichung der Dissertation an der Freien Universität Berlin: 29. November 2016 Tag öffentlichen Verteidigung: 9. Mai 2017 1 Inhalt Dank ................................................................................................................................. 4 1 Einleitung .................................................................................................................. 6 2 Forschungsprobleme ................................................................................................. 9 3 Die Kunsttheoretiker ............................................................................................... 25 3.1 Gutiérrez de los Rios (1568/ 9-1606) ............................................................................. 25 Historische Einordnung .................................................................................................... 25 Gutiérrez’ Noticia general para la estimación de las Artes (1600) .................................. 29 3.2 Vicente Carducho (1576/ 78-1638) ................................................................................ 33 Historische Einordnung .................................................................................................... 33 Carduchos Maltechnik ...................................................................................................... 39 Carduchos Diálogos de la Pintura (1633) ......................................................................... 45 3.3 Francisco Pacheco (1564-1644) ..................................................................................... 48 Historische Einordnung .................................................................................................... 48 Pachecos Maltechnik ........................................................................................................ 52 ‚Limpieza de sangre‘ und Inquisition ................................................................................ 54 Pachecos Arte de la Pintura (1649) .................................................................................. 58 3.4 Jusepe Martínez (1600-1682) ......................................................................................... 63 Historische Einordnung .................................................................................................... 63 Martínez‘ Maltechnik ....................................................................................................... 66 Martínez‘ Discursos practicables del nobilísimo Arte de la pintura (ca. 1673) ................ 71 4 Soziale Bedingtheit künstlerischer Diskurse in der spanischen Kunstliteratur ........... 75 4.1 Inklusion und Exklusion in der Kunsttheorie .................................................................. 75 4.2 Gutiérrez ......................................................................................................................... 78 Die Inkorporation der Kunsthandwerke in die artes del dibujo ....................................... 78 Die Intellektualisierung des künstlerischen Prozesses ..................................................... 80 Die Ausblendung von Maltechniken ................................................................................ 92 Moralische Aufwertung der Handarbeit .......................................................................... 94 2 4.3 Carducho ...................................................................................................................... 106 Die Intellektualisierung des dibujo externo .................................................................... 106 Die Ausdifferenzierung der Naturnachahmung ............................................................. 109 Die Abwertung der Täuschung und der Nachahmung des Äußeren ............................. 112 4.4 Pacheco ........................................................................................................................ 121 Die Aufwertung der Farbe zur sozialen Abgrenzung ..................................................... 121 Angemessenheit als Voraussetzung für sozialen Aufstieg ............................................. 126 Die Ausgrenzung von ‚unklassisch’ vorgehenden Malern ............................................. 131 4.5 Martínez ....................................................................................................................... 140 5 Wege zum ‚Unklassischen‘ ...................................................................................... 146 5.1 Carducho ...................................................................................................................... 146 Die Entwicklung der Idee aus der Selektion ................................................................... 146 Wege zum ‚Dialogischen‘ im Werkprozess .................................................................... 148 Wege zur Aufwertung der Fleckenmalerei .................................................................... 157 5.2 Pacheco ........................................................................................................................ 168 Die Erwähnung des ,dialogischen Prinzips’ .................................................................... 168 Tintorettos Primamalerei als Kriegslist .......................................................................... 172 Wege zur Aufwertung der Fleckenmalerei .................................................................... 178 5.3 Martínez ....................................................................................................................... 195 Der Werkprozess als ‚Dialog‘ – Das Entwerfen auf der Leinwand ................................. 195 Die Aufwertung der Fleckenmalerei .............................................................................. 208 6 Resümee ................................................................................................................ 211 7 Abkürzungen .......................................................................................................... 219 8 Literaturliste (Auswahl) .......................................................................................... 220 8.1 Quellen ......................................................................................................................... 220 8.2 Sekundärliteratur ......................................................................................................... 225 Zusammenfassung ......................................................................................................... 239 Abstract ......................................................................................................................... 239 3 Dank Bei der vorliegenden Arbeit handelt es sich um eine leicht überarbeitete Fassung meiner Dissertation. Sie wurde im Wintersemester 2016/ 2017 im Fachbereich Geschichts- und Kulturwissenschaften der Freien Universität angenommen und im Mai 2017 verteidigt. Zum Gelingen dieses Projektes haben etliche Menschen beigetragen, denen mein herzlicher Dank ausgesprochen sei: Zuallererst möchte ich Prof. Dr. Werner Busch vom Kunsthistorischen Institut der Freien Universität Berlin dafür danken, dass er mir so lange Doktorvater und -mutter zugleich war und dieses Promotionsvorhaben mit seinen vielfältigen Anregungen und seinem beständigen Interesse begleitet hat. Großer Dank gebührt auch Prof. Dr. Joachim Rees, der sich wohlwollend der Begutachtung der Arbeit annahm. Prof. Dr. Ulrike Müller-Hofstede, Prof. Dr. Sebastian Fitzner und Dr. Jan von Brevern sei für ihre Bereitschaft gedankt, als Mitglieder der Promotionskommission zu fungieren. Bei den Mitgliedern der Carl Justi-Vereinigung möchte ich mich vielmals bedanken. Dr. Karin Hellwig vom Zentralinstitut München gilt mein herzlicher Dank. Sie bereicherte die Dissertation mit ihrem profunden Wissen zur spanischen Kunstliteratur und ihrer Hilfsbereitschaft enorm. Vor allem riet sie mir im rechten Moment, die Hände vom Werk zu nehmen. Danken möchte ich auch Dr. Sylvaine Hänsel und Dr. Bettina Marten für die Einladung, meine Forschungsergebnisse 2017 auf dem 34. Deutschen Kunsthistorikertag zu präsentieren. Prof. Dr. Margit Kern von der Universität Hamburg danke ich für ihre Unterstützung in der Anfangsphase. Sie ermöglichte mir, Teilaspekte des Projektes in der Arbeitsgruppe Spanische und Iberoamerikanische Kunstgeschichte zur Diskussion zu stellen. Sehr dankbar bin ich Prof. Dr. Fernando Marías von der Universidad Autónoma Madrid für seine Denkanstöße zum Verhältnis von Pacheco und El Greco, sowie für die Bereitstellung von unveröffentlichtem Material. Dr. María Lopéz-Fanjul y Díez del Corral 4 von den Staatlichen Museen zu Berlin danke ich für den Austausch zu Pacheco und für Informationen zur spanischen Grisaille-Malerei. Außerordentlich dankbar bin ich für die Informationen von Restaurator_innen, die diese interdisziplinäre Arbeit förderten: Besonders erwähnen möchte ich Herrn Prof. Erwin Emmerling vom Lehrstuhl für Restaurierung, Kunsttechnologie und Konservierungs- wissenschaft der Technischen Universität
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