Die Gesten Im Malerischen Und Zeichnerischen Werk Raffaels

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Die Gesten Im Malerischen Und Zeichnerischen Werk Raffaels D i e G e s t e n im malerischen und zeichnerischen Werk Raffaels Dissertation zur Erlangung des akademischen Grades Doktor der Philosophie der Philosophischen Fakultät der Eberhard-Karls-Universität Tübingen vorgelegt von Martin Franz Mäntele aus Meßkirch 2010 Gedruckt mit Genehmigung der Philosophischen Fakultät der Eberhard Karls Universität Tübingen Gutachter: Prof. em. Dr. Klaus Schwager, Prof. Dr. Elisabeth Kieven Tag der mündlichen Prüfung: 20. Dezember 1999 Dekan: Prof. Dr. Heinz Hofmann Verlag: Elektronische Publikation 2 3 Vorwort I. Einführung 11 1. Einleitung 11 2. Literaturbericht 12 3. Die Begriffe Geste und Gebärde 18 II. Die Gesten in der Theorie 21 1. Raffaels kunsttheoretisches Interesse 21 2. Zum Begriff gestus 22 3. Die antike Rhetorik in der Renaissance 22 3.1 Marcus Fabius Quintilianus Institutionis oratoriae libri quinque 23 4. Die Theoretiker des Quattrocento 27 4.1 Leon Battista Alberti Trattato della Pittura 27 4.1.1 Raffaels Rezeption des Traktates 32 4.1.2 Zusammenfassung Alberti 33 4.2. Leonardo da Vincis Trattato della Pittura 34 4.2.1 Zur Geschichte der Manuskripte 37 4.2.2 Zu Raffaels Rezeption von Leonardos Traktat 38 4.2.3 Das Abendmahl Leonardo da Vincis (1497) 39 4.3. Baldesar Castiglione Libro del Cortegiano 41 4.3.1 Zur Entstehung des Werks 41 4.3.2 Der Hofmann und die Gesten 41 4.3.3 Zusammenfassung 42 5. Fazit 43 III. Die Funktionen der Gesten 44 1. Zur Methode 44 2. Die formalen Funktionen der Gesten 45 2.1 Indizieren – Das Führen des Betrachters durch den Bildraum 45 2.2 Das Führen des Betrachters durch den Realraum 46 4 2.3 Die Verbindung von Rückenfigur und Geste 46 2.4 Geste und Hintergrund 46 3. Die inhaltlichen Funktionen der Gesten 47 3.1 Die Gesten als ikonographisches Attribut 47 3.2 Die Gesten bilden eine Handlung ab 48 3.3 Die Gesten als Ausdrucksmittel: Affektdarstellung 48 3.4 Rückenfigur und Affektdarstellung 49 IV. Typologie 50 1. Die Zeigegeste 50 2. Die Redegesten 51 3. Liturgische Gesten und Gebetsgesten 52 3.1. Der Segensgestus 53 3.1.1 Der lateinische Segensgestus (benedictio latina) 53 3.1.2 Der griechische Segensgestus (benedictio graeca) 53 3.2 Gebetsgesten 54 3.2.1 Das Beten mit flach aneinander gelegten Händen (iunctis manibus) 55 3.2.2 Das Beten mit ineinander verschränkten Fingern (digitis pectinatim) 55 3.2.3 Das Beten mit vor der Brust überkreuzten Händen (cancellatio manuum) 56 3.3 An die Brust schlagen 56 4. Erhobene Hände 56 5. Nach vorne ausgestreckte Hände 57 6. Seitlich parallel ausgestreckte Hände 58 7. Fingerrechnen (digitus computans) 58 8. Signum Harpokraticum 59 9. Der Gestus des Aposkopein 60 5 V. Gestensysteme 62 1. Die Gestensprache der Mönche 62 2. Die Fingerzahlen 64 3. Zusammenfassung 65 VI. Das malerische Werk 67 1. Umbrien 67 1.1 Das Sposalizio (1504) 67 2. Florenz 72 2.1 Madonna di Terranuova (1504/05) 72 2.2 Die Grabtragung Christi – Pala Baglioni (1507) 75 2.2.1 Bildanalyse 75 2.2.2 Das Tragen des Leichnams 79 2.2.3 Der Ritus der verhüllten Hände 81 2.2.4 Die Verehrung der Wundmale 81 2.2.5 Das Bestatten der Toten als Werk der Barmherzigkeit 82 2.2.6 Die Cimasa 83 2.2.7 Die Predellen 84 2.2.8 Die Grabtragung Christi als istoria 85 2.2.9 Zusammenfassung 86 3. Rom 87 3.1 Die vatikanischen Stanzen (1508–1517) 87 3.1.1 Die Stanza della Segnatura 88 3.1.1.1 Disputà del Sacramento 89 3.1.1.2 Die Schule von Athen 97 3.1.1.3 Der Parnaß 105 3.1.2 Die Stanza d‟Eliodoro 108 3.1.2.1 Die Vertreibung des Heliodor 108 3.1.2.2 Die Messe von Bolsena 111 3.1.2.3 Die Befreiung des Hl. Petrus aus dem Kerker 117 6 3.1.2.4 Die Begegnung Papst Leo d. Gr. mit König Attila 119 3.1.2.4.1 Zur Geste des Papstes 122 3.1.3. Die Stanza dell'Incendio 123 3.1.3.1 Der Brand im Borgo 124 3.2 Die Teppich-Kartons für die Sixtinische Kapelle (1515–1516) 129 3.2.1 Der wunderbare Fischzug 130 3.2.2 Die Schlüsselübergabe oder Berufung Petri 131 3.2.3 Die Heilung des Lahmen 132 3.2.4 Der Tod des Ananias 133 3.2.5 Die Blendung des Elymas 135 3.2.6 Das Opfer in Lystra 137 3.2.7 Der Hl. Paulus predigt in Athen 138 3.2.8 Zusammenfassung 139 3.3 Die Transfiguration (1518–20) 139 3.3.1 Die Gestik in den beiden Bildhälften 147 3.3.2 Die kniende weibliche Rückenfigur 149 3.3.3 Der besessene Knabe 150 VII. Die Gesten im zeichnerischen Werk: Von Umbrien nach Rom 152 1. Umbrien 152 1.1 Männlicher Rückenakt und Armstudien 152 1.2 Studien von Händen, eines Kopfes und Figuren 153 1.3 Kopf des Hl. Thomas 154 2. Florenz 155 2.1 Studien der Jungfrau mit Kind – Studien für die Madonna Bridgewater 155 2.2 Zur Pala Baglioni 156 3. Rom 160 3.1 Studien für das Fresko Disputà del Sacramento 160 3.2 Pentimenti auf einer Zeichnung und dem Karton für Die Schule von Athen 172 7 3.3 Die Zeichnungen für Raffaels Fresko Das Urteil des Salomo und Marcantonio Raimondis Kupferstich Der Bethlehemitische Kindermord 176 3.3.1 Figurenstudien für Das Urteil des Salomo 177 3.3.2 Einzelstudien für Das Urteil des Salomo 179 3.3.3 Das Fresko Das Urteil des Salomo 181 3.3.4 Scherge und Mutter mit Einzelstudien 182 3.3.5 Kompositionsstudien für Der Bethlehemitische Kindermord 183 3.3.6. Das modello für Der Bethlehemitische Kindermord 186 3.3.7 Die Ausführung 186 3.3.8 Zusammenfassung 187 3.4 Werkstattfragen 187 3.4.1 Die Zeichnungen für den Karton Der wunderbare Fischzug 188 3.4.2 Die Vertreibung aus dem Paradies 193 3.4.3 Die Zeichnungen für Die Transfiguration 199 3.5 Zusammenfassung 206 VIII. Die Gesten im Raumzusammenhang 208 1.1 Die Personifikation der Theologie, Stanza della Segnatura 208 1.2 Das Kuppelmosaik in der Capella Chigi, S. Maria del Popolo 209 IX. Zusammenfassung 212 X. Literaturverzeichnis 217 XI. Abbildungen 235 8 Vorwort Das Entstehen dieser Arbeit wurde von vielen Seiten unterstützt. Meinem Doktorvater, Herrn Prof. em. Dr. Klaus Schwager sei an dieser Stelle aufrichtig für seine stete Unterstützung und die große Geduld gedankt, die er bis zur Fertigstellung dieser Arbeit hatte. Ohne die Förderung eines Stipendiums von 1995 bis 1997 durch das Graduiertenkolleg der Universität Bonn „Die italienische Renaissance und ihre europäische Rezeption: Kunst – Geschichte – Literatur“ hätte diese Arbeit nicht geschrieben werden können. Den Kommilitoninnen und Kommilitonen wie auch dem Lehrkörper danke ich für Ermunterung und anregende Gespräche und Fragen. Den Freunden in Tübingen und in Stuttgart, besonders Evamarie Blattner, Michael Brodbeck und Wolfgang Seidel danke ich für klärende Gespräche und anfeuernde Telefonate. Dietrich Netzold hat in bewährter Weise bei vielen der Abbildungsvorlagen geholfen, wofür ihm an dieser Stelle herzlich gedankt sei. Ulrich Rehm danke ich für seine hilfreichen Hinweise zur Überarbeitung, Angelika Malinar und Dagmar Rinker für ihre korrigierende Lektüre. Vor allem aber danke ich meinen Eltern, die mit Geduld den Fortgang meiner Ausbildung begleiteten und mich unterstützten, wo sie nur konnten. Ihnen widme ich diese Arbeit in großer Dankbarkeit. Das Typoskript wurde im Februar 1999 abgeschlossen. Später erschienene Literatur konnte nicht eingearbeitet werden. Es gilt die alte Rechtschreibung. Martin Mäntele 9 10 I. Einführung 1. Einleitung Ein Seminar Klaus Schwagers zur Vorbereitung einer Rom-Exkursion war betitelt: „Die Vermittlungsformen monumentaler Bild- und Skulpturen-Ensembles“. Bei der Frage, was solche Vermittlungsformen bei Raffaels Stanzenfresken sein könnten, fiel mir die Vielfalt der Gesten auf, die sich auf diesen Gemälden fand. Die Betrachtung seiner Werke führte rasch zu der Feststellung, daß Raffael eine besondere Neigung hat, die Figuren mit Gesten agieren zu lassen. Dabei stellte sich die Frage, worauf Raffael sich bei seiner Vorgehensweise stützt. Gibt es einen Code, mit dem die ikonographischen Fragen in der Schule von Athen gelöst werden könnten? Kann eine Systematik der Gesten erstellt werden? Versteckt sich eine Sprache der Gesten im Werk Raffaels? Ziel der Arbeit ist es, eine genauere Kenntnis der von Raffael verwendeten Gesten zu erhalten. Als Leitfrage steht dabei im Vordergrund, herauszuarbeiten, was die Spezifika der Verwendung von Gesten bei Raffael sind. Man könnte auch fragen: Was macht die gestualità Raffaels aus? Den Werkanalysen, die den Kern dieser Arbeit darstellen, ist neben dem Forschungsbericht ein Abschnitt über die theoretischen Vorstellungen zur Gestik in der Renaissance vorangestellt. Ergänzend ist eine kleine Typologie jener Gesten beigefügt, die am häufigsten bei Raffael zu finden sind, die aber keine Vollständigkeit anstrebt. Die Werkanalysen teilen sich in zwei Blöcke. Eine umfassende Auswahl beschäftigt sich mit der Entwicklung des Werkes von Umbrien bis in die späte römische Zeit. Der zweite Block widmet sich den Zeichnungen, die immer im Hinblick auf die ausgeführten Werke ausgewählt sind. In einem abschließenden Kapitel werden die Einzelbeobachtungen zusammengeführt. Die Vorgehensweise ergibt sich aus dem zu untersuchenden Material. Gelegentlich mußten ikonographische Fragen in größerer Ausführlichkeit behandelt werden, als das ursprünglich beabsichtigt war. Die daraus resultierende Verschiebung in der Gewichtung einzelner Werke konnten nicht immer ausgeglichen werden. 11 2. Literaturbericht Die Erforschung von Gesten ist keine Spezialdisziplin der Kunstgeschichte. Viele der vorliegenden kunsthistorischen Arbeiten gehen motivgeschichtlich vor. Sie beschäftigen sich in der Regel mit ein oder zwei Gesten, und verfolgen deren Verwendung durch die Jahrhunderte. Eine der ersten Studien stammt von J. J. Tikkanen, der „Das Führen des Zeigefingers zum Gesicht“ und „Das Zeigen als künstlerisches Ausdrucksmotiv“ an Beispielen von der griechischen Antike bis ins 19.
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