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Heldinnengalerie – Sch¨Onheitengalerie

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Heldinnengalerie – Sch¨Onheitengalerie Heldinnengalerie – Schonheitengalerie¨ Studien zu Genese und Funktion weiblicher Bildnisgalerien 1470-1715 Inaugural-Dissertation zur Erlangung der Doktorwurde¨ der Philosophisch-historischen Fakultat¨ der Ruprecht-Karls-Universitat¨ Heidelberg, Kunsthistorisches Institut vorgelegt bei Professor Dr. Michael Hesse von Michael Wenzel M.A. aus Bad Hersfeld Inhaltsverzeichnis Vorwort......................................... 9 Einleitung . ...................................... 11 1 Die Heldinnengalerie: Von Beruhmten¨ Frauen und Beruhmten¨ Mannern¨ in Bilden- der Kunst und Literatur 21 1.1 Grundlagen in der antiken Literatur ....................... 21 1.2 Mittelalterliche Tradition und fruhhumanistische¨ Vitenliteratur in Bildzyklen des Trecento und des Quattrocento: Boccaccio, Neuf Preux und Neuf Preuses, Petrarca ...................................... 23 1.2.1 Die Thematik der Beruhmten¨ Frauen zwischen Hof und fruhem¨ Burger-¨ tum.................................... 23 1.2.2 Der Fruhhumanismus¨ und sein Einfluß auf die Ikonographie der Ber uhm-¨ ten Frauen ................................. 40 1.3 Femmes fortes? – Ausstattungsprogramme der Appartements von Frauen: He- roinen und das Identifikationsportrat¨ im 16. und 17. Jahrhundert ........ 46 1.3.1 Die Grotta der Isabella d’Este, das Quartiere di Eleonora und die The- matik der Beruhmten¨ Frauen in der italienischen Literatur des 16. Jahr- hunderts . ............................... 47 1.3.2 Elisabeth I. von England und Katharina de’ Medici . ........ 55 1.3.3 Vom Palais du Luxembourg nach Versailles . ............ 59 1.4 Fortitudo versus Pulchritudo? ........................... 88 2 Der Sch¨onheitsdiskurs in Portr¨at und Gesellschaft der italienischen Renaissance 95 2.1 Der mannliche¨ Blick, Leonardos Bilderfindung“ und der Mailander¨ Codicetto 95 ” 2.1.1 Leonardos Bilderfindung“ . ....................... 95 ” 2.1.2 Kulturelle Differenz und serielle Darstellung . ............100 2.1.3 Der Mailander¨ Codicetto .........................107 2.2 Das Bildnis der Renaissancefurstinnen¨ . ...................113 2.2.1 Isabella d’Este . ...........................114 2.2.2 Giulia Gonzaga . ...........................117 2.2.3 Giovanna d’Aragona ...........................122 2.3 Die Notwendigkeit der Schonheit:¨ Raphael, die selektive Imitation und das neoplatonische Konzept . ...........................125 2.4 Darstellungen von Kurtisanen und Matressen?¨ – Venedig, Tizian und die Bild- nistypen der schonen¨ Frau“ ...........................141 ” 2.5 Schonheit¨ als Emanzipationstechnik: Lucretia Marinella und die Verteidigung der Schonheitsmittel¨ ...............................160 3 Pr´ıncipes, damas y caballeros – Tugend und Sch¨onheit im Kontext der Kunst- und Wunderkammern 165 3.1 Der ethnographische und der moralistische Blick: Frauengalerien im Kontext der enzyklopadischen¨ Portratsammlung¨ der Kunst- und Wunderkammern . 165 3.1.1 Von Paolo Giovio zur Legitimation furstlichen¨ Selbstverstandnisses¨ in der Ahnengalerie“ . ...........................165 ” 3 4 Inhaltsverzeichnis 3.1.2 Munchen:¨ Die Hofdamenserie der Herzogin Jacobaa..........170¨ 3.1.3 Munchen:¨ Die Kostumbildnisse¨ der Niederlanderinnen“¨ . 175 ” 3.2 Die Habsburger, das Symmetrieproblem“ und die Stellung des Frauenportrats¨ ” im Kontext der Kunst- und Wunderkammern . ..................180 3.2.1 Philipp II. von Spanien und die Galer´ıa de Retratos del Pardo ......180 3.2.2 Ferdinand von Tirol: Ambras und Ruhelust . ..............190 Die Fassadenmalerei im Innenhof des Hochschlosses Ambras .....190 Der sogenannte Spanische Saal, die Imagines Gentis Austriacae und die Kleinbildnissammlung in Ambras ..................192 Die 36. schoner¨ frawen Conterfette“ im Damensaal von Schloß Ruhelust197 ” Portrats¨ schoner¨ Frauen, 1591/92 ....................214 3.2.3 Rudolf II. von Habsburg und das Prinzessinnenportr at.........220¨ 3.2.4 Philipp IV.von Spanien und die Galer´ıa del Mediod´ıa des Alten Alc´azar in Madrid .................................223 3.3 Fruhe¨ italienische Schonheitengalerien:¨ Die Bellezze di Artimino der Medici und das Projekt Vincenzos I. Gonzaga von Mantua . ..............228 3.3.1 Florenz und die Bellezze di Artimino ..................228 3.3.2 Mantua . .................................237 4 Frauen in der hofischen¨ Gesellschaft – Schonheitengalerien¨ des 17. Jahrhunderts 245 4.1 Die Entwicklung der Schonheitengalerie¨ an den Hofen¨ der Oranier und der Stuarts in Den Haag und London .........................248 4.1.1 Amalie von Solms . .........................249 Die Serie der zwolf¨ franzosischen¨ Koniginnen“¨ ............251 ” Die Damenportratserie¨ von Gerard van Honthorst ............252 Die Serie der englischen Damen“ ....................254 ” 4.1.2 Die Portratgalerie¨ des Maurits Lodewijk von Nassau-Beverweerd . 256 4.1.3 Anthonis van Dyck und die Entwicklung der Sch onheitengalerie¨ in England . .................................262 4.1.4 Die Windsor Beauties und der Restaurationshof der Stuarts . 271 Die Gemalde¨ ...............................273 Beauties und Flagmen: Datierung, Lokalisierung und Typologie der Serie ...................................280 Althorp und andere verwandte Serien ..................290 Neoplatonic Love, Beauty und die hofische¨ Gesellschaft der engli- schen Restauration ............................293 4.1.5 Die Hampton Court Beauties der Konigin¨ Maria II. von England . 299 4.1.6 Die Petworth Beauties der Duchess von Somerset: Die Frauengalerie als offizielle Reprasentation¨ . ..................307 4.1.7 Conclusio: Beauties aus eigenem Recht – Der Funktionswandel der Frauengalerie am englischen Hof . ..................314 4.2 Frankreich und die Tradition des preziosen¨ Portrats...............318¨ 4.2.1 Versailles .................................320 4.2.2 Les plus belles femmes de la Cour“ und die Matressen¨ des Konigs:¨ ” Chˆateau Bussy-Rabutin als Anti-Versailles? . ..............325 4.3 Maria Mancini, die Colonna und die Schonheitengalerien¨ in Rom . 336 4.3.1 Die Colonna in Rom: Die Inventare . ..................336 4.3.2 Die Chigi in Ariccia: Die Gemalde...................343¨ 4.4Savoyen......................................358 4.4.1 Die Portratserie¨ des Palazzo Reale in Turin . ..............359 Inhaltsverzeichnis 5 4.4.2 Die Galerie Karl Emanuels II. von Savoyen . ............361 4.4.3 Die Galerie der Kurfurstin¨ Henriette Adelaide von Savoyen in Munchen¨ 364 4.5 Florenz ......................................370 4.5.1 Cosimo III. de’ Medici: Die neue Kultur des universalen Sammelns . 370 4.5.2 Vittoria della Rovere und die Portratgalerien¨ von Poggio Imperiale als Mittel weiblicher Reprasentation¨ . ...................373 4.5.3 Die Bellezze Ovali der Violante Beatrix von Bayern . ........379 4.6 Deutschland um 1700 ...............................381 4.6.1 Kopierte Schonheit¨ – Import aus Paris? Die Schonheitengalerien¨ des Kurfursten¨ Max Emanuel von Bayern . ............381 4.6.2 Von Konigin¨ Sophie Charlotte in Preußen zu Markgrafin¨ Wilhelmine von Bayreuth – Die Frauenportratgalerie¨ im Umfeld des preußischen Hofes . ...............................387 5 Zusammenfassung: Argumentationsstrategien personaler“ und historischer“ ” ” Galerien 405 Ausblick: Blick zur¨uck nach vorn oder Wie ein ideales Jahrhundert“ sich in der ” Frauengalerie manifestiert 413 A Unpublizierte Quellen 431 B Dokumentation 433 B.1 Geoffrey Chaucer, The Legend of Good Women, Prolog, Ballade, Vers 203-223 433 B.2 Ariost, Orlando furioso, 46. Gesang, Strophe 3-10 . ............433 B.3 Auszuge¨ aus dem Briefwechsel zwischen de Peiresc und Rubens, 1622/23 . 434 B.4 Bildzyklus der Beruhmten¨ Frauen im Cabinet de la Reine des Chˆateau de Ri- chelieu nach den Kommentaren von Benjamin Vignier, 1676 . ........435 B.5 Auszuge¨ aus dem Briefwechsel Galeazzo Maria Sforzas vom Februar 1473, eine Bildnisserie junger Madchen¨ betreffend ...................437 B.6 Auszug aus einem Inventar von Anne de Bretagne, 1500 ............438 B.7 Bernardo Bellincioni, Uber¨ Leonardos Portrat¨ von Cecilia Gallerani, vor 1492 . 438 B.8 Briefe von Jacopo d’Atri an Isabella d’Este vom Januar 1510 . ........439 B.9 Cod. Trivulzio Nr. 2159, Archivio Storico Civico e Biblioteca Trivulziana, Mailand, Textauszuge...............................440¨ B.10 Inventarium Oder Beschreibung aller deren Stuckh und sachen, frembder und Inhaimischer bekanter und unbekanter selzamer und verwunderlicher ding, so auf Ir Furstl:¨ Dhtl: Herzogen in Baijrn etc. Kunst Camer zusehen und zufinden ist angefangen den 5. februarii. Anno MDXCVIII. Beschriben durch Joan Bap- tista Ficklern, der Rechten Doctorn Furstl:¨ Dhtl: in Baijrn hofrath zu Munchen¨ etc., Munchen,¨ Bayerische Staatsbibliothek, cod. germ. 2133, Ausz uge.....441¨ B.11 Argote de Molina, Discurso sobre el Libro de la Monter´ıa que mand´o escreuir el muy alto y muy poderoso Rey Don Alonso de Castilla, y de Le´on, 1582, Auszug: Descricci´on del Bosque y Casa Real del Pardo . ............451 B.12 Nachlaßinventar des Erzherzogs Ferdinand II. von Tirol in Ruhelust, Innsbruck und Ambras vom 30. Mai 1596, Auszuge....................453¨ B.13 Beschreibung des Damensaals von Schloß Ruhelust in Innsbruck von Philipp Hainhofer, 1628 . ...............................454 B.14 Briefe des Bischofs Francesco Sporeno an Erzherzog Ferdinand II. von Tirol, Rom 1591/92, Auszuge..............................455¨ 6 Inhaltsverzeichnis B.15 Nachlaßinventar des Kardinals Francesco Maria del Monte von 1627, Auszug . 456 B.16 Inventar des Alc´azar in Madrid von 1686, Galer´ıa del Mediod´ıa, Auszug . 457
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