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Wiener Jahrbuch Für Kunstgeschichte Band LXIII/LXIV

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Wiener Jahrbuch Für Kunstgeschichte Band LXIII/LXIV THE SALUTATI TOMB IN FIESOLE: ANIMATION, REPRESENTATION AND SCHOLARLY MEMORIA Jeanette Kohl And marble’s language, Latin pure, discreet…1 ex-ante: imagination / fragmentation According to Pliny the Elder, the first portrait the sculpted portrait is also a matrix of oblivion. sculpture came into being under the impression The substitution of absence in the image of of an impending loss. The Corinthian potter Bu- a bust portrait, an art form that traditionally tades of Sikyon’s daughter drew the silhouette served as a medium of memory-generating pres- of her lover, who was preparing to leave, on the ence, goes along with another deficit – that of wall. Butades, who was touched by his daugh- bodily integrity. Busts are reductions in form and ter’s grief, modeled upon this outline the boy’s shape of the human sitter, and as such they are portrait in clay, which he then fired in the ov- visual synecdoche: the isolated part implies the en along with the tiles he made for a living.2 entirety of a human being. As ‘intentional frag- This well-knownUrszene of portraiture is mo- ments’, bust portraits are characterized by a gap, For personal use only. tivated by the impulse to compensate for an an- a vacancy in the spot where the body should be, ticipated absence by means of a bodily likeness, a making our perception of such objects an os- medium of Fernanwesenheit 3, which fills the sil- cillating act between utter familiarity (with the houette on the wall with three-dimensional ma- ‘human head’) and discomfiture (with the lack teriality. Love, loss, and the desire for a bodily of ‘body’), touching upon both the illusion of praesentia in absentia thus mark the beginnings presence and the distance of memoria, authen- of mimetic sculpture. The ersatz body, however, ticity and artifice.4 Their essentially ambivalent is by nature deficient. The image and its physical position between representation and presentifi- presence implicate the absence of the sitter and cation, deadness and artistic vivification, rigid thus its own illusion. As a medium of memory, limitation (as fragments) and challenging imita- 1 R. Browning, The Bishop Orders his Tomb, verse 98, cit. The Poems of Browning. Volume Two: 1841–1846 (ed. J. Woolford/D. Karlin), New York 1991, p. 270. 2 N. Suthor, Caius Plinius Secundus d.Ä.: Trauerarbeit/Schatten an der Wand, in: Porträt (ed. Rudolf Preimes- berger/Hannah Baader/Nicola Suthor), Berlin 1999, pp. 117–126. 3 Thomas Macho defines faces as ‘Medien der Fernanwesenheit’ in the digital age, in reference to a term by Manfred Der Arkadenhof der Universität Wien und die Tradition Gelehrtenmemoria in Europa downloaded from www.vr-elibrary.de by 72.132.252.22 on March, 2 2018 Fassler. T. Macho, Das prominente Gesicht. Notizen zur Politisierung der Sichtbarkeit, in: Politische Inszenier- ungen im 20. Jahrhundert. Zur Sinnlichkeit der Macht (ed. S. R. Arnold/C. Fuhrmeister/D. Schiller), Vienna 1998, p. 172. 4 For the typology and materiality of bust portraits and the viewer-object relation see J. Kohl, Sichtbar sein. Mater- ialität und Facialität frühneuzeitlicher Porträts, in: Trajekte 17 (Zeitschrift des Zentrums für Literatur- und Kultur- 150 jeanette kohl tion makes them rather puzzling objects with a an artwork hinting at the entire person, yet we strong physical and psychological appeal to the cannot help being puzzled by its obvious reduc- beholder. Busts are memorials and mementos tion.6 This irritation is essentially motivated by per se – ‘Denkmäler in des Wortes eigentlich- the bust’s bodily presence as opposed to paint- ster Bedeutung’ (Burger 1904) – confronting us ed portraits. Beholder and bust share the same with faces and heads of the past, activating our space, the same ‘reality’ (even though they might response en face. be a millennium apart). The divided body im- To the beholder, busts intuitively represent a age of a bust portrait seems to have a life of its state of being ‘undead’: ‘Tu vivi e in te non puo own, yet it is not responsive. The representation la morte’, you live and death can do no harm of all that defines the exceptional human being to you, as the paradox is addressed concisely in in the sculptural pars pro toto of his ‘upper half’ Antonio Tebaldeo’s cycle of sonnets on a female throws us back onto ourselves and our imagina- marble bust of ca. 1493.5 By substituting human tion in completing the image of the totus homo. transience with more durable materials, busts are The intentionally chosen fragment, at least in the placeholders between life and death, heads repre- case of Renaissance busts, references man’s integ- senting spiritedness, achievements, beauty, social rity and relies upon the observer’s imagination to standing, intellect, and virtues in the monadic complete the picture. What is mute, immobile, seclusion of fragmented torsos. The rigorous cut, controlled, clearly contoured, cut and incom- perhaps most pronounced in the multitude of plete in the realm of the Renaissance’s prevail- Quattrocento busts divided horizontally at chest ing ‘aesthetics of effect’ (Wirkungsästhetik) gen- height, leaves behind all the formidable mov- erates more effectively than any other form of art ability of the human body in favor of a rigidly the liveliness, presence, and much lauded, quasi- defined immobile body-box. And the more mi- breathing presence of the individual.7 nutely lifelike the artistic rendering of face and For personal use only. poise, the more alien and irritating is its state of bodily incompleteness. We understand that it is forschung: Ausdruck. Erscheinung. Affekte) 10, 2008, pp. 17–24; J. Kohl, Gesichter machen. Büste und Maske im Florentiner Quattrocento, in: Marburger Jahrbuch für Kunstwissenschaft 34, 2007, pp. 77–100; J. Kohl, Talking Heads. Reflexionen zu einer Phänomenologie der Büste, in: Kopf/Bild. Die Büste in Mittelalter und Früher Neuzeit (ed. J. Kohl/ R. Müller), Munich/Berlin 2007, pp. 9–30. 5 A. Tebaldeo, Rime, Bd. 2, Teil I, Rime della vulgata (ed. T. Basile), Modena 1992, p. 358, sonnet 226. 6 Irving Lavin discusses the essential difference between antique and Renaissance bust portraits. While the marble and stone objects from Roman antiquity are usually conceived as self-contained formal entities designed for frontal viewing and mounted on a pedestal to emphasize their status as representative artworks, the vast majority of Ren- aissance busts from the Quattrocento are more pronouncedly three-dimensional bodily objects whose ‘unartful fragmentation’ – as if amputated below the shoulders – hints at the absent body and thus at the entire person (totus homo). I. Lavin, On the Sources and Meaning of the Renaissance Portrait Bust, in: The Art Quarterly XXXIII, no. 3, 1970, pp. 207–226. 7 The paradoxical effort of capturing the dynamics of the living human body in the static medium of an image has, since antiquity, also been understood along the lines of techniques of memorization. The immobile image serves Rhetorica ad Der Arkadenhof der Universität Wien und die Tradition Gelehrtenmemoria in Europa downloaded from www.vr-elibrary.de by 72.132.252.22 on March, 2 2018 as an incentive for mechanisms of ‘enlivenment’ in the beholders imagination. Cicero’s advice in the Herennium points to the usefulness of imagines agentes – unusual, eye-catching images with the potential for agency, which create a presence by hinting at what is absent. Cicero, Rhetorica ad Herennium, III, 22, 37, see also P. Matus- sek, Bewegte und Bewegende Bilder. Animationstechniken im historischen Vergleich, in: Kunst der Bewegung. Kinästhetische Wahrnehmung und Probehandeln in Virtuellen Welten (ed. C. Lechtermann/C. Morsch/H. Wenzel), Bern 2004, pp. 1–13. Open Access © 2018 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR The SaluTaTi Tomb in FieSole 151 singularity / integration While bust portraits clearly celebrate the tran- ture of the ancient epics of superheroes. Ficti- sient individual in an enduring form, they have tious genealogies, like the descent from Romulus also since Roman antiquity been exponents of and Remus, Hercules, Caesar, and Alexander the ancient lineage and genealogy. Individuality Great, were an integral part of early modern rul- and homogeneity of family representation were er iconography and biography. Genealogy here closely intertwined, in particular in Republican was no longer bound to consanguinity, instead it Rome and again in the Renaissance, both per- developed into a cultural order, one that was not iods in which galleries of busts were common.8 genetically but generically determined. Merit Series of busts portraying eminent thinkers of and fame brought about by virtuous accomplish- the past and present came fully in vogue in the ment became the core ingredient for the male eighteenth century, with ambitious projects such elite’s right to participate in fabricated lineages. as the commission of twenty-six marble busts for The idea of distinct individual fame (a thought Trinity College in Cambridge, of which ten were pattern rooted in ‘vertical’ ideologies of individ- executed by Roubiliac between 1751 and 1766.9 uals surpassing each other in history) joins the The Vienna University’s Arkadenhof with its 150 concept of meritocratic genealogies (the horizon- monuments to illustrious scholars and thinkers tal idea of lineage) in galleries of famous men. of the late nineteenth century marks an ambi- These ‘synthetic’ rather than genetic lineages, be- tious peak in the development of such galleries fore the eighteenth century mainly instrumen- of bust portraits of famous men (and quite rarely, talized in political iconography, find their more women) as far as their number is concerned, but modern and ‘enlightened’ counterparts in the also in their variety of types.10 Based on ideas not galleries of scholars, artists and authors. They are unlike those of painted galleries of uomini illus- hybrid attempts in evoking a homogeneity of the For personal use only.
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