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Originale Und Historische Firnisse Auf Werken Der Gemäldegalerie Alte Meister Kassel. Schichtenaufbau, Schadensformen Und Schadensursachen, Restaurierungsproblematik

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Originale Und Historische Firnisse Auf Werken Der Gemäldegalerie Alte Meister Kassel. Schichtenaufbau, Schadensformen Und Schadensursachen, Restaurierungsproblematik ORIGINALE UND HISTORISCHE FIRNISSE AUF WERKEN DER GEMÄLDEGALERIE ALTE MEISTER KASSEL. SCHICHTENAUFBAU, SCHADENSFORMEN UND SCHADENSURSACHEN, RESTAURIERUNGSPROBLEMATIK Inauguraldissertation Zur Erlangung des Grades eines Doctor philosophiae im Fachgebiet Kunsttechnologie, Konservierung und Restaurierung von Kunst- und Kulturgut an der Hochschule für Bildende Künste Dresden vorgelegt von Thomas Krämer geb. am 24. April 1967 in München Betreuerin: Prof. Dr. Ursula Haller, HfBK Dresden Gutachter: 1. Prof. Dr. Ursula Haller, HfBK Dresden 2. Prof. Dipl.-Rest. Hans Portsteffen, TH Köln Tag der öffentlichen Verteidigung: 19. April 2017 DANK Im Vorfeld und im Verlauf meiner Arbeit habe ich von vielen Seiten vielfältige und wertvolle Hilfe, Anregungen und Unterstützung erhalten. Hans Brammer, ehemaliger Leiter der Restaurierung der Museumslandschaft Hessen Kassel (MHK), hat mich mit der Restaurierungsproblematik und -geschichte der Kasseler Gemäldega- lerie vertraut gemacht und mir großzügig Einblick in seine Forschungen gegeben. Zusammen mit Prof. Dr. Christoph Herm, Hochschule für Bildenden Künste Dresden (HfBK Dresden), unterstützte er mich bei der schwierigen Themenfindung. Die Arbeit entstand parallel zu meiner Tätigkeit als Gemälderestaurator der MHK. Von Seiten der MHK, namentlich von dem ehemaligen Direktor, Prof. Dr. Michael Eissenhauer, und dem heutigen Direktor, Prof. Dr. Bernd Küster, sowie von der Leiterin der Restaurierung, Anne Harmssen, habe ich dazu größtmögliche Unterstützung erfahren. Prof. Dr. Ursula Haller verdanke ich die konstruktive und geduldige Betreuung meiner Arbeit und wertvolle Ratschläge und Hilfestellungen, Prof. Dr. Christoph Herm ebenso wertvolle Rat- schläge für die Objektuntersuchungen. Prof. Hans Portsteffen, Technische Hochschule Köln, danke ich für seinen Beitrag als Zweitgutachter meiner Arbeit. Zahlreiche ehemalige und heutige Kolleginnen und Kollegen der MHK haben mich tatkräftig unterstützt, mir wertvolle Hinweise gegeben oder Quellen zur Verfügung gestellt, Pia-Maria Hilsenbeck, Christiane Ehrenforth, Julia Dummer und Andreas Cogho, Prof. Dr. Gregor J. M. Weber und Dr. Julia Gierse, Dr. Justus Lange, Stefanie Rehm, Dr. Micha Röhring, Dr. Wolf- gang Adler, Dr. Jürgen M. Lehmann, Martin Menz, Siamak Chad-Bakht, Günther Kuss, Sabine Naumer und Gregor Börries, Barbara Striening, Ursula Lehmann, Arno Hensmanns, Ute Brun- zel und Gabriele Bößert, Gina Nowottka, Genevieve Silvester, Laura Hack und Margarete Juros. Wertvolle Hinweise verdanke ich auch Mechthild Most, Sybille Schmitt und Prof. Ingo Timm. Bei Recherchen waren mir Dr. Wolfgang Wimmer, Carl Zeiss Archiv Jena, Lydia Manetstädter vom Deutschen Patent- und Markenamt München, Alice Reger von der Fa. Chiron-Werke GmbH & Co. KG Tuttlingen, Dr. Cornelia Dörr, ehemals Direktorin des Kasseler Stadtmuse- ums, behilflich. Dr. Nathalia Gustavson, Andrea Kappes und Sonja Nadyn Krug stellten mir freundlicherweise ihre Arbeiten zur Verfügung. Petra Mandt erlaubte großzügig die Verwendung der von ihr erschlossenen und dem Archiv der Kasseler Gemälderestaurierung zur Verfügung gestellten, schriftliche Dokumente der Kasseler Restaurierungsgeschichte für diese Arbeit. Prof. Ivo Mohrmann und Kerstin Risse erstellten Röntgenaufnahmen, die auch für diese Arbeit verwendet wurden. Im Rahmen der Arbeit wurden Beiträge in Fachzeitschriften verfasst. Mein nochmaliger Dank für die Unterstützung und die Korrekturen dazu gilt Prof. Dr. Ulrich Schießl, ehemals HfBK Dresden, Prof. Dr. Ursula Haller sowie Hans Brammer, Beate Möller und Peter Krämer. Schließlich habe ich auch große Unterstützung bei der Verfassung der vorliegenden Arbeit er- fahren. Prof. Dr. Ursula Haller gab mit wertvolle Ratschläge zu Aufbau und Gliederung. Beate Möller verdanke ich die langjährige Unterstützung und Begleitung der Arbeit durch Kritik, An- regungen und Ratschläge. Schließlich leisteten Peter Krämer und Beate Möller die umfang- reiche und mühevolle Durchsicht und Korrektur. Beiden gilt mein besonderer und herzlichster Dank. ZUSAMMENFASSUNG Die Kasseler Gemäldegalerie Alte Meister hat ihren Schwerpunkt in der niederländischen, flämischen und deutschen Malerei des 17. und 18. Jahrhunderts. Dazu zählt eine der größten und bedeutendsten Sammlungen von Rembrandt. Die Firnisse zahlreicher Gemälde, darunter Hauptwerke der Galerie, sind dick, stark gegilbt und verschiedentlich borkenartig craqueliert. Diese Firnisse sind vielschichtig und enthalten historische, möglicherweise auch originale Firnisschichten. Vielfach erscheint eine Firnisabnahme wünschenswert oder gerechtfertigt. Aus konservatorischen Gründen ist sie in einigen Fällen außergewöhnlich schwierig, in Einzelfällen sogar unmöglich. Die Restaurierungsgeschichte der Kasseler Galerie wird von den 1750er bis zu den 1960er Jahren betrachtet. Themen sind die Beschreibung und Beurteilung des Erhal- tungszustandes der Firnisse sowie die Konzeption und Durchführung von Restaurierungen und schließlich die Bewertung ihrer Ergebnisse. In Fallstudien werden die Schichtenabfolgen und die Veränderungen der Firnisse, insbesondere die Rissbildung und die Deformationen, unter- sucht. Reste eines originalen Firnisses und Zwischenfirnisse werden nachgewiesen. Auf der Grundlage der Befunde wird eine Rekonstruktion der Schadensentwicklungen versucht. Zuletzt wird die restauratorische und konservatorische Problematik einer Firnisabnahme und Firnis- dünnung dargestellt. ABSTRACT Original and historical varnishes on paintings of the Old Masters Picture Gallery Kassel - layer sequence, damage forms and damage cause, restoration issues The Old Masters Picture Gallery Kassel focuses on Dutch, Flemish and German paintings of the 17th and 18th century. It encompasses one of the largest and most significant Rembrandt collections. Varnishes on numerous paintings, some of them include major works of the gallery, are multi-layered and content historical, possibly even original varnish layers. Most of these varnishes are strongly yellowed and feature bark-like craquelures. In many cases a varnish removal appears to be desirable or justified but turns out to be exceptionally difficult with some paintings, in individual cases even impossible. A depiction of the restoration history of the Kassel Gallery covers a period from the 1750s until the 1960s. Topics involve the description and the assessment of the preservation condition of the varnishes as well as the conception, implementation and evaluation of the restoration measures. In case studies the layer sequences and the changes of the varnishes, especially cracking and deformation are viewed. Residues of a final varnish and intermediate varnishes are identified. Based on the findings it is attempted to reconstruct the development of damage phenomena. Finally, the restoration issues of varnish removal or thinning are presented. Inhaltsverzeichnis 1 Einleitung 1 1.1 Fragestellung und Zielsetzung der Arbeit 4 1.2 Forschungsüberblick 7 1.3 Methoden der Arbeit 17 1.4 Begriffsverwendung 19 1.4.1 Originale und historische Firnisse 19 1.4.2 Rissbildung 21 2 Zur Restaurierungsgeschichte der Kasseler Gemäldegalerie Alte Meister 25 2. 1 Einleitung 25 2.2 Restaurierungen und Tätigkeiten des Galerieintendanten Johann Georg van Freese und -inspectors Johann Heinrich Tischbein d. J. von 1748 bis 1807 27 2.3 Kasseler Gemälde im Musée Napoléon von 1807 bis 1815 29 2.4 Restaurierungen und Tätigkeiten der Galerieinspectoren Ernst Friedrich F. Robert und Karl Christian Aubel von 1814/15 bis 1874 32 2.5 Begutachtungen der Sammlung und Restaurierungen von 1874 bis 1880 35 2.6 Begutachtungen der Sammlung und Restaurierungen von Alois Hauser d. Ä. und Alois Hauser d. J. von 1883 bis 1915 39 2.6.1 Begutachtung der Sammlung 1883 39 2.6.2 Restaurierungen von Alois Hauser d. Ä. und Alois Hauser d. J. und ihre Begutachtungen 1883 41 2.6.3 Restaurierungen von Alois Hauser d. J. von 1890 bis 1915 45 2.6.4 Alois Hauser d. Ä. und seine Anleitung zur Technik der Oelmalerei 46 2.6.5 Alois Hauser d. J. und sein Manuskript Über die Restauration von Gemälden 47 2.7 Begutachtungen der Sammlung und Restaurierungen von 1924 bis 1931 49 2.7.1 Begutachtung der Sammlung 1924 und Restaurierungen von 1925/26 bis 1929/1930 49 2.7.2 Begutachtungen der Sammlung durch Kurt Wehlte und Max Doerner 1929 53 2.7.3 „Skandal“ um Röntgenaufnahmen von 1931 57 2.8 Restaurierungen von Joseph Leiß von 1932/33 bis 1952 59 2.8.1 Patent für ein Verfahren zur Konservierung von Kunstschätzen 64 2.8.2 Auslagerung der Gemäldegalerie ab 1939 und Wiedereröffnung 1946 65 2.8.3 „Restaurierungsskandal“ und Begutachtung der Sammlung 1952 67 2.9 Restaurierungen von Sylvie von Reden 1952 bis 1966 69 2.9.1 Die „Kasseler Gemälde kehren zurück“, 1956 69 2.9.2 Regenerierungen, Abnahmen, Dünnungen, Trennungen und Aufträge von Firnissen 71 2.10 Zusammenfassung 75 3 Grundlagen und Methoden der Objektuntersuchung 79 3.1 Schadensphänomene und Schadensmodelle der Lack- und Anstrich- wissenschaften, Materialwissenschaften und Bruchmechanik 79 Innere Spannung und Rissbildung 79 - Geweitete Risse und plastische Schichten 81 - Quellungsrisse 82 - Rissverlauf und Rissablenkung 83 - Strömungen bei der Film- trocknung 86 - Quellungsbedingte Deformationen 89 3.2 Benennung und Darstellung der Firnis- und Malschichtrisse 91 3.3 Mikroskop-Fotografie und grafische Strukturanalyse 96 Bildoberfläche 96 - Farb- und Firnisquerschliffe 99 3.4 Darstellung von Löseprozessen am Querschliff 103 Modellhafte Darstellung des Löseprozesses bei einer Firnistrennung, -dünnung oder -abnahme 104 - Modellhafter Rekonstruktionsversuch
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