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Alvaro Pirez – Ein Maler Der Spätgotik in Der Toskana Marius Mrotzek

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Alvaro Pirez – Ein Maler Der Spätgotik in Der Toskana Marius Mrotzek Alvaro Pirez – ein Maler der Spätgotik in der Toskana Band 1 Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophischen Fakultät der Ruprecht-Karls Universität zu Heidelberg vorgelegt von Marius Mrotzek 2009 Tag der mündlichen Prüfung: 06. Februar 2010 Dekan: Prof. Dr. Heinz-Dietrich Löwe Referent: Prof. Dr. Johannes Tripps (Hochschule für Technik, Wirtschaft und Kultur Leipzig) Korreferent: Prof. Dr. Werner Jacobsen (Westfälische Wilhelms- Universität Münster) DANKSAGUNG Die vorliegende Arbeit wurde im Sommersemester 2009 von der Philosophischen Fakultät der Ruprecht-Karls Universität Heidelberg als Dissertation angenommen. Zuerst möchte ich mich bei meinem Doktorvater, Herrn Professor Dr. Johannes Tripps von der Hochschule für Kunst, Wissenschaft und Kultur, Leipzig für seine großzügig gewährte Unterstützung und der konstruktive Kritik, mit der er meine Arbeit begleitet hat, herzlich bedanken. Zu Dank bin ich ebenfalls Herrn Professor Dr. Werner Jakobsen von der Universität Münster verpflichtet, der sich bereit erklärte, als Zweitkorrektor zu fungieren. Im Laufe meiner Arbeit bin ich von einer Reihe von verschiedenen Institutionen und Personen unterstützt worden, die mir Zugang zu ihren Bildern und Archivalien ermöglicht haben. An erster Stelle sei die Universitätsbibliothek Heidelberg sowie das Kunsthistorische Institut in Florenz / Max-Plank-Institut genannt. Eine freundliche Aufnahme fand ich bei meinem Besuch in der Privatsammlung Heinz Kisters in Kreuzlingen / Schweiz. Die Konsultation ihres Archives gestatteten mir freundlicherweise folgende Einrichtungen: Villa I Tatti, Florenz, Archivio di Stato di Prato, Biblioteca Guarnacci in Volterra und die Biblioteca Riccardiana in Florenz. Danken möchte ich weiterhin all denjenigen Personen, die mir bei der Korrektur der Arbeit behilflich waren und mir mit ihrer wertvollen Kritik inhaltlich weitergeholfen haben: Professor Dr. Marika Kiessling, Dr. Maximilian Mrotzek, Dr. Enno Krüger, Sonya Isaak und Alexa Gwinner. Besonders aber danke ich meinen Eltern, auf deren Unterstützung und Verständnis ich stets zählen konnte. INHALTSVERZEICHNIS I. EINLEITUNG.............................................................................................6 II. FORSCHUNGSSTAND UND QUELLEN..............................................8 2.1. Leben und Werk des Alvaro Pirez nach den Quellen...............................................8 2.2. Forschungsdiskussion.................................................................................................19 III. ALVAROS STILISTISCHE ENTWICKLUNG..................................34 3.1. Ein toskanischer Maler – das kulturelle Umfeld ....................................................34 3.1.1. Pisa als Anziehungspunkt für Künstler der Spätgotik................................................36 3.1.2. Madonnendarstellungen bei Cecco di Pietro und ihre Bedeutung für Alvaro...........40 3.1.3. Die künstlerische Situation in Pisa um 1400.............................................................42 3.2. Alvaros Werk in der Toskana...................................................................................44 3.2.1. Alvaro Pirez – ein Florentiner Maler?.......................................................................44 3.2.2. Die Madonna in Santa Croce in Fossabanda – die Frühe Phase................................47 3.2.2.1. Die Madonna von Nicosia – ein Übergangswerk .................................................52 3.2.2.2. Die Mailänder Madonna – ein Experimentalwerk .................................................55 3.2.3. Ein Altar für Volterra – die Mittlere Phase...............................................................59 3.2.3.1. Die Madonna von Livorno – die künstlerische Konsolidierung ............................63 3.2.3.2. Die Madonna Sarti – das Ideal von Schönheit.......................................................65 3.2.3.3. Die Madonna aus Cagliari – das letzte bekannte Altarwerk ..................................67 3.2.4. Der Braunschweiger Altar von 1434 – die Spätphase...............................................68 3.2.4.1. Die Madonna von Dijon – die Vereinheitlichung des Bildraumes.........................71 3.2.4.2. Alvaros Arbeiten der 1420er und 1430er – Versuch einer Bewertung..................74 3.2.4.3. Exkurs: Der Meister der Tempeldarbringung Linsky – Alvaro Pirez?...................75 3.3 Altar-Rekonstruktionen bei Alvaro...........................................................................80 3.4. Die rekonstruierbaren Fragmente ...........................................................................90 IV. ZUSAMMENFASSUNG.......................................................................96 V. KATALOG.............................................................................................104 5.1. Vorbemerkung zum Katalogteil..............................................................................104 5.2. Œuvre des Alvaro Pirez...........................................................................................106 Kat. Nr. 1 - Thronende Maria mit Kind zwischen acht Engeln..........................................106 Kat. Nr. 2 - Die hll. Paulus, Johannes d.T., Petrus und Andreas........................................113 Kat. Nr. 3 - Der hl. Kosmas................................................................................................118 Kat. Nr. 4 - Die hll. Maria und Johannes unter dem Kreuz stehend...................................121 Kat. Nr. 5 - Thronende Maria mit Kind zwischen zwei Engeln.........................................125 Kat. Nr. 6 - Die hl. Lucia....................................................................................................131 Kat. Nr. 7 - Die hll. Erzengel Michael und Johannes der Täufer.......................................134 4 Kat. Nr. 8 - Ein Evangelist (Johannes ?) und Bischof (Augustinus ?) .............................139 Kat. Nr. 9 - Maria mit dem Jesuskind.................................................................................142 Kat. Nr. 10 - Die hll. Katharina von Alexandrien und Maria Magdalena..........................145 Kat. Nr. 11 - Maria mit Kind..............................................................................................148 Kat. Nr. 12 - Der Altar von Volterra..................................................................................151 Kat. Nr. 13 - Die hl. Katharina von Alexandrien................................................................159 Kat. Nr. 14 - Der hl. Franziskus.........................................................................................163 Kat. Nr. 15 - Maria mit Kind..............................................................................................166 Kat. Nr. 16 - Die hl. Katharina und ein Apostel (Jakobus?)...............................................170 Kat. Nr. 17 - Ein hl. Diakon (Laurentius?).........................................................................173 Kat. Nr. 18 - Der hl. Erzengel Michael...............................................................................176 Kat. Nr. 19 - Maria mit Kind..............................................................................................179 Kat. Nr. 20 - Die Verkündigung an Maria..........................................................................183 Kat. Nr. 21 - Der hl. Damian .............................................................................................186 Kat. Nr. 22 - Der hl. Kosmas..............................................................................................189 ...........................................................................................................................................189 Kat. Nr. 23 - Maria mit Kind..............................................................................................192 Kat. Nr. 24 - Die Verkündigung an Maria..........................................................................196 Kat. Nr. 25 - Maria mit Kind zwischen den hll. Petrus und Franziskus.............................200 Kat. Nr. 26 - Die hll. Stephan und Vinzenz........................................................................204 Kat. Nr. 27 - Der hl. Georg.................................................................................................207 Kat. Nr. 28 - Die Verkündigung an Maria..........................................................................210 Kat. Nr. 29 - Der hl. Damian..............................................................................................213 Kat. Nr. 30 - Das Braunschweiger Retabel.........................................................................216 Kat. Nr. 31 - Die hll. Katharina, Johannes d.T., Jakobus und Giustina (?) .......................223 5.3. Abgelehnte Zuschreibungen....................................................................................227 QUELLENVERZEICHNIS........................................................................248 Dokumentierte Werke .....................................................................................................248 Verlorene Werke...............................................................................................................252 Anhang...............................................................................................................................256 LITERATURVERZEICHNIS...................................................................258 5 I. Einleitung Es ist merkwürdig, dass immer noch Debatten entstehen
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