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TITIAAN EN DE NEDERLANDEN EEN WISSELWERKING? Aantal woorden: 23.700 Camille Marynissen Studentennummer: 01308230 Promotor: Prof. dr. Koenraad Jonckheere MasterproeF voorgelegd voor het behalen van de graad master in de richting Kunstwetenschappen Academiejaar: 2016 - 2017 1 2 3 De auteur en de promotor(en) geven de toelating deze studie als geheel voor consultatie beschikbaar te stellen voor persoonlijk gebruik. Elk ander gebruik valt onder de beperkingen van het auteursrecht, in het bijzonder met betrekking tot de verplichting de bron uitdrukkelijk te vermelden bij het aanhalen van gegevens uit deze studie. Het auteursrecht betreffende de gegevens vermeld in deze studie berust bij de promotor(en). Het auteursrecht beperkt zich tot de wijze waarop de auteur de problematiek van het onderwerp heeft benaderd en neergeschreven. De auteur respecteert daarbij het oorspronkelijke auteursrecht van de individueel geciteerde studies en eventueel bijhorende documentatie, zoals tabellen en figuren. De auteur en de promotor(en) zijn niet verantwoordelijk voor de behandelingen en eventuele doseringen die in deze studie geciteerd en beschreven zijn. 4 Voorwoord Graag wil ik mijn promotor, Professor Dr. Koenraad Jonckheere, bedanken voor zijn begeleiding bij het schrijven van deze masterproef. De bachelorproef vormde een grondige basis om mijn masteronderzoek op voort te bouwen. Bij onzekerheden over de afbakening van mijn onderwerp en de al dan niet juiste onderzoekspiste kon ik steeds rekenen op de juiste bijsturing. Verder hielp de behulpzame staf van het Rubenianum in Antwerpen mij steeds met de documenten die ik nodig had in hun onderzoekscentrum. Ook mijn mama wil ik bedanken voor de steun en liefde. Vooral merci aan mijn fantastische papie, die ik zo bewonder. Al ver voor het aanvangen van deze studie gaf hij mij zijn eindeloze passie mee voor kunst en zijn niet te stillen honger naar informatie. Ook tijdens het schrijven van deze masterproef was hij er steeds om te luisteren, met veel enthousiasme op te gaan in het onderwerp en steeds alles na te lezen met de grootste aandacht, fascinatie en oneindig veel geduld. Merci. 5 INHOUDSTAFEL INLEIDING ........................................................................................................................... 8 METHODOLOGIE ...............................................................................................................10 CONTEXT .......................................................................................................................... 12 TITIANESK DISEGNO ......................................................................................................... 16 De rol van de prentkunst ........................................................................................................... 16 Landschapsschilderkunst ........................................................................................................... 18 Jan van Scorel ................................................................................................................................ 21 Lambert Sustris .............................................................................................................................. 25 Religieuze taferelen: Coxcie ....................................................................................................... 32 Caïn en Abel en de Tityusfiguur ..................................................................................................... 34 Ecce Homo ..................................................................................................................................... 39 De vrouwenfiguur ...................................................................................................................... 44 Venus ............................................................................................................................................. 46 Venus met de spiegel .................................................................................................................... 49 Venus met een muzikant .......................................................................................................................... 53 De Poesie ....................................................................................................................................... 55 Maria Magdalena .......................................................................................................................... 60 TITIANESK COLORITO ........................................................................................................ 66 Het titianeske coloriet en de vroege receptie door Sustris en van Scorel .................................... 66 Hendrick Goltzius en de Haarlemse Academie ........................................................................... 70 Frans Badens ............................................................................................................................. 74 BESLUIT ............................................................................................................................ 78 BIBLIOGRAFIE ................................................................................................................... 82 6 7 INLEIDING Bij een groot aantal studies over de artistieke relaties tussen Italië en de noordelijke en zuidelijke Nederlanden in de zestiende eeuw wordt meestal de nadruk gelegd op Rome als het centrum van de Italiaanse renaissancekunst. Daardoor wordt het belang van Firenze, Venetië en andere steden vaak teniet gedaan. Een tweede hiaat vormt de vaak eenzijdige visie op de invloed die het artistiek hooggewaardeerde Italië uitoefende op de Nederlanden in de zestiende eeuw. Deze thesis zal trachten aan te tonen dat dit niet altijd het geval was. Het doel van deze thesis is dan ook om via een aantal case studies de invloed van Titiaan (Pieve di Cadore, ca.1487- Venetië, 1576) op de Nederlandse schilderkunst van de zestiende eeuw aan te tonen en te kijken of deze eventueel ook omgekeerd aanwezig was. Hierbij wordt de focus gelegd op quasi tijdgenoten die eventueel in Venetië zijn geweest, al dan niet in Titiaans atelier zelf, tot de navolging van zijn stijl in de Nederlanden aan het begin van de zeventiende eeuw. Titiaan heeft zodanig lang geleefd, zodanig veel opdrachtgevers gekend en bijgevolg in enorm veel verschillende stijlen gewerkt dat het definiëren van “titianesk” om te beginnen al problematisch is. De selectie van de noordelijke kunstenaars is dan ook gebeurd met de bedoeling om telkens een ander aspect van Titiaans invloed in het noorden aan te duiden, en is bijgevolg allesbehalve exhaustief. Volledige biografieën of oeuvres komen dus evenmin aan bod, slechts enkel die biografische feiten of bepaalde werken uit het oeuvre van de kunstenaar die relevant zijn met betrekking tot de thesis. De thesis is onderverdeeld in twee overkoepelende delen. Zo wordt in de eerste sectie, die het grootste deel van het onderzoek zal inhouden, de nadruk gelegd op de overname van compositorische elementen, het disegno. De rol die de prentkunst heeft gespeeld in de introductie en verspreiding van titianeske composities in het noorden, met graveurs zoals Cornelis Cort (Hoorn/Edam, 1533- Rome, 1578), kan ook niet onderschat worden, maar wordt in deze thesis slechts aangestipt, vanwege de beperkte omvang van het onderzoek. In het deel dat focust op het disegno zijn vervolgens een aantal onderverdelingen gemaakt per thema, beginnend bij het landschap, waarbij het concept van de “pittori tedeschi” wordt uitgediept aan de hand van de casus Lambert Sustris (Amsterdam, ca. 1515 – Venetië, ca. 1591), via zijn leermeester Jan van Scorel (Schoorl, 1485- Utrecht, 1562). Vervolgens komen een aantal werken van de contrareformatorische schilder Michiel Coxcie (Mechelen, 1499 – Mechelen, 1592) aan bod die mogelijks de dramatische kracht van titianeske composities implementeerde in zijn religieuze taferelen. Bijna uitsluitend werken uit de periode tussen 1550 en 1560 worden echter aangehaald, aangezien Coxcies oeuvre, zowel voor- als nadien, veeleer wordt gekenmerkt door een Florentijnse en 8 Romaanse invloed. Als laatste is er de vrouwenfiguur van Titiaan, die onder andere Gillis Coignet (I) (Antwerpen, 1542- Hamburg, 1599) heeft beïnvloed, zoals aangetoond zal worden met behulp van kopieën die hij maakte naar Titiaan en nadien ook vrijere, daarop geïnspireerde composities. Dit onderdeel is gezien de overweldigende hoeveelheid aan geapproprieerde inventies voor de duidelijkheid nogmaals onderverdeeld per thema. De Venusfiguur, de mythologische naakten in de Poesie, maar ook Maria Magdalena worden met behulp van een aantal casussen belicht. Een genre dat bijgevolg niet aangehaald zal worden, is het portret, aangezien dit reeds werd besproken in de bachelorproef die aan dit onderzoek voorafging. Bovendien werd Anthonis Mor (Utrecht, ca. 1519- Antwerpen, 1575), die in deze context een spilfiguur was, reeds meermaals besproken en uitgediept in de literatuur als navolger van Titiaan, hetgeen een relevante bijdrage aan het onderzoek dus bemoeilijkt. Het beknopte tweede deel onderzoekt kort de intrede van het typisch titianeske coloriet in de noordelijke schilderkunst. Iets wat we bij compositorische navolgers zoals Coxcie nauwelijks te zien kregen. Hierbij zal de focus liggen op Haarlem, met centraal Hendrick Goltzius (Mühlbracht, 1558- Haarlem, 1617), die eveneens belangrijk was voor de navolging van titianeske composities, maar nu zal worden
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