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Dottorato Di Ricerca in Archeologia E Storia Dell Alma Mater Studiorum – Università di Bologna DOTTORATO DI RICERCA IN ARCHEOLOGIA E STORIA DELL’ARTE ciclo XXVIII Settore concorsuale di afferenza: 10/B1 Settore scientifico disciplinare: L-ART/02 DALLA PAROLA ALL’IMMAGINE. LE PREDICHE FIGURATE DI DANIEL HOPFER E IL RUOLO DELLA GRAFICA NELLA DIFFUSIONE DELLA DOTTRINA EVANGELICA Presentata da: dott. ssa VALERIA BUTERA Coordinatore Dottorato: Relatore: Prof. Emilia Calbi Prof. Guglielmo Pescatore Esame finale anno 2016 INDICE INDICE ............................................................................................................................................................ 1 INTRODUZIONE ......................................................................................................................................... 3 CAPITOLO I - IL CONTESTO STORICO-CULTURALE ............................................................................... 10 1.1 La questione delle immagini: i presupposti teologici ................................................................10 1.2 La questione delle immagini: una ricognizione storica ............................................................ 12 1.3 Arte e pedagogia ................................................................................................................................ 19 1.4 L’educazione luterana ..................................................................................................................... 24 1.5 Il Catechismo Tedesco........................................................................................................................... 27 1.6 Dalla teoria alla pratica ................................................................................................................... 30 CAPITOLO II - L’ARTISTA DANIEL HOPFER ........................................................................................... 33 2.1 Daniel Hopfer, un artista da riscoprire ....................................................................................... 33 2.2 Ispirazione, plagio, citazione: Hopfer e il Rinascimento ....................................................... 35 2.3 I modelli autoctoni di Hopfer ....................................................................................................... 38 2.4 Hopfer e la tipografia di Augusta ................................................................................................. 41 2.5 Augusta, una città pluriconfessionale .........................................................................................44 2.6 L’indipendenza teologica di Rhegius .......................................................................................... 48 CAPITOLO III - L’ILLUSTRAZIONE DEL PADRE NOSTRO ...................................................................... 50 3.1 L’Oratio Dominica e la sua rappresentazione nei secoli: un breve excursus ............................ 50 3.2 Le illustrazioni di Holbein per la Precatio Dominica di Erasmo da Rotterdam ................... 54 3.2.1 Immagini e testo: una stretta interdipendenza ...................................................................... 56 3.2.2 Erasmo, Holbein, Froben e la tipografia di Basilea ............................................................... 60 3.2.3 Oltre confine: il modello di Holbein in Francia ..................................................................... 63 3.2.4 Oltre la grafica: il Pater Noster di Holbein nelle arti minori ................................................. 64 3.3 Hopfer fra Holbein e l’evangelismo di Augusta ........................................................................ 66 3.4 Il ‘pane quotidiano’ attraverso due prediche particolari ........................................................ 69 3.5 La raffigurazione del Padre Nostro da Lutero in poi ............................................................... 70 3.6 Oltre la grafica: Il Padre Nostro nella miniatura e nella pittura ........................................... 75 CAPITOLO IV- L’ILLUSTRAZIONE DEL SIMBOLO APOSTOLICO............................................................. 77 4.1 Introduzione e fonti iconografiche .............................................................................................. 77 4.2 L’iconografia ‘originaria’ ................................................................................................................ 79 4.3 La messa in scena del Credo: miniature, Blockbücher e incunaboli ........................................ 80 4.4 Fra tradizione e rinnovamento: il Credo di Daniel Hopfer .................................................... 84 4.5 Il Simbolo Apostolico secondo l’ottica luterana ....................................................................... 91 4.6 Le illustrazioni del Simbolo Apostolico nelle stufe a maiolica del XVI secolo ................. 94 1 CAPITOLO V - SERMO CUM FIGURIS: I MANIFESTI DI DANIEL HOPFER ................................................. 98 5.1 Contro il digiuno e altre imposizioni........................................................................................... 98 5.2 Contro l’ipocrisia del clero .......................................................................................................... 103 5.3 Tre Parabole ..................................................................................................................................... 113 5.4 Accanto a Hopfer: le parabole come strumenti di propaganda religiosa ........................... 116 5.5 Il rifiuto del Cristo Giudice .......................................................................................................... 118 5.6 Paolo, il ‘primo’ Apostolo .............................................................................................................. 119 5.7 Di usura, speculazioni finanziarie e altri sporchi affari ........................................................ 120 CONCLUSIONI .........................................................................................................................................134 ELENCO DELLE TAVOLE ..................................................................................................................... 136 ELENCO DELLE ILLUSTRAZIONI DI CONFRONTO ................................................................. 138 BIBLIOGRAFIA ........................................................................................................................................ 145 MANOSCRITTI ......................................................................................................................................... 155 BLOCKBÜCHER E INCUNABOLI ................................................................................................................ 155 CINQUECENTINE .................................................................................................................................... 156 2 INTRODUZIONE La tematica che il progetto di ricerca affronta si iscrive nel contesto del dibattito che accompagna la nascita e l’affermazione della Riforma protestante e, in particolar modo, dei suoi fondamenti teologici e dottrinari. Poiché la quantità di studi dedicati all’arte nel periodo della Riforma è vastissima, dai contributi monografici sui singoli artisti coinvolti nel programma figurativo promosso da Lutero, alle ricerche orientate alle nuove iconografie, dagli approfondimenti sull’illustrazione libraria a quelli sui manifesti polemici, ho dovuto necessariamente riorientare e ridimensionare la ricerca rispetto a quanto mi ero inizialmente prefissata. Alcuni argomenti di natura teologica e storica sono diventati una premessa indispensabile per comprendere la rivoluzione culturale della Riforma sul piano delle arti figurative. Con il termine ‘rivoluzione’ non si fa riferimento solo all’iconoclastia, ma a molteplici aspetti che hanno modificato radicalmente il modo di concepire l’arte nelle aree convertite. Fra questi aspetti ci sono la desacralizzazione dell’immagine a soggetto religioso, la rilettura semantica di vecchie iconografie o la creazione di nuove, attraverso il rinnovamento degli elementi già esistenti, e, soprattutto, l’accentuazione delle finalità didattiche, tanto nella pittura e nella scultura quanto nella grafica. Sono proprio l’illustrazione libraria e la produzione di stampe sciolte in forma di manifesti il veicolo fondamentale nella divulgazione dei principi cardine delle nuove dottrine nei primi decenni del XVI secolo e armi di attacco anticlericale. Volontariamente si utilizza il termine ‘dottrine’ al plurale, in quanto il panorama della Riforma è, da un punto di vista teologico, così ampio ed eterogeneo, che fare riferimento unicamente alla dottrina luterana sarebbe limitante. Quello che è emerso durante gli anni di ricerche condotti prevalentemente in Germania è infatti un panorama estremamente complesso, dove il dibattito religioso è percorso da molteplici punti di vista e opinioni divergenti anche all’interno della stessa Riforma. Le controversie teologiche occupano prepotentemente la vita quotidiana e si riflettono sulle creazioni artistiche, che rispondono alle richieste di una nuova committenza o, più precisamente, della vecchia committenza che ha cambiato le proprie esigenze. In particolar modo è nell’ambito della grafica che il nesso fra la polemica religiosa e la questione sociale è più stretto. Nelle stampe è più evidente la strategia comunicativa della Riforma, che si serve non solo del testo scritto, ma anche dell’immagine per veicolare un messaggio
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