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"Un'artefice Cristiano". Studien Zu Lavinia Fontana Als Historienmalerin

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„Un’artefice cristiano“. Studien zu Lavinia Fontana als Historienmalerin Von der Philosophisch-Historischen Fakultät der Universität Stuttgart zur Erlangung der Würde eines Doktors der Philosophie (Dr. phil.) genehmigte Abhandlung Vorgelegt von Sandra Schmidt aus Augsburg Hauptberichter: Prof. Dr. Sabine Poeschel Mitberichter : Prof. Dr. Reinhard Steiner Tag der mündlichen Prüfung: 28. Februar 2011 Institut für Kunstgeschichte der Universität Stuttgart 2015 Inhalt Vorwort .................................................................................................................................................. III I Einleitung .............................................................................................................................................. 1 III Begriffsbestimmung Storia/Historia ................................................................................................ 10 IV Biographie ........................................................................................................................................ 12 V Bologna zwischen Spätmanierismus und Gegenreformation ......................................................... 17 1. Der historische Hintergrund in Bologna zur Zeit des Cinquecento ................................................... 17 1.1 Das Bilderdekret des Konzils von Trient .......................................................................................... 17 1.2 Der Discorso intorno alle imagini sacre e profane von Gabriele Paleotti ....................................... 24 2. Ulisse Aldrovandi und das kulturelle Umfeld Lavinia Fontanas ........................................................ 30 VI Der künstlerische Werdegang Lavinia Fontanas ............................................................................. 34 1. Der Einfluss der Gegenreformation .................................................................................................. 34 1.1 Orientierung am Werk Prospero Fontanas ..................................................................................... 34 1.2 Verosimiglianza und Naturalismus ................................................................................................. 43 1.3 Die Darstellung von Heiligen bei der Andacht ................................................................................ 50 1.4 Der Marienkult als zentrales Thema der Gegenreformation .......................................................... 54 2. Lavinia Fontana und ihre Auftraggeber ............................................................................................. 61 2.1 Die Madonna Assunta von Ponte Santo ......................................................................................... 61 2.2 Die Pala Calcina in S. Giacomo Maggiore, Bologna ........................................................................ 64 2.3 Die dekorative Ausstattung des Palazzo Magnani in Bologna ........................................................ 66 2.4 Die Cappella Gnetti in S. Maria dei Servi, Bologna .......................................................................... 71 2.5 Girolamo Bernerio und der Auftrag für S. Sabina, Rom .................................................................. 74 2.6 Die Cappella del Rosario in S. Domenico, Bologna .......................................................................... 78 3. Thematische Schwerpunkte im Œuvre Lavinia Fontanas ................................................................. 82 3.1 Die Heilige Familie ........................................................................................................................... 82 3.2 Historische Sujets ............................................................................................................................ 88 4. Letzte Lebensphase in Rom ............................................................................................................... 98 4.1 Der Auftrag für S. Paolo fuori le Mura und die Kritik Giovanni Bagliones ...................................... 98 4.2 Die letzten Jahre ............................................................................................................................ 101 I VII Zur Diskussion: Neue Zuschreibungen ......................................................................................... 105 VIII Schlussbetrachtung ...................................................................................................................... 107 Werkkatalog........................................................................................................................................ 110 Anhang ................................................................................................................................................ 172 Bibliographie ....................................................................................................................................... 173 Abbildungsnachweis ............................................................................................................................ 202 Bildteil ................................................................................................................................................. 203 II Vorwort Die vorliegende Arbeit wurde 2011 vom Institut für Kunstgeschichte der Universität Stuttgart als Dissertation angenommen. Für die Druckfassung wurde das Manuskript leicht überarbeitet. Nach 2010 erschienene Literatur konnte nur in Ausnahmefällen berücksichtigt werden. Die Entstehung dieser Arbeit von der ersten Idee bis zur Fertigstellung haben viele Personen begleitet. Mein Dank gilt all jenen, die mich unmittelbar durch Anregungen, Ratschläge und Kritik bei der Arbeit an dieser Dissertation unterstützt haben. Folgende Personen möchte ich besonders hervorheben: Dank gebührt in erster Linie meiner Doktormutter Frau Prof. Dr. Sabine Poeschel, die mich von Anfang an zu dem Projekt ermutigt hat und mir jederzeit für Gespräche zur Verfügung stand. Zu Dank verpflichtet bin ich auch Herrn Prof. Dr. Reinhard Steiner für die rasche Erstellung des Zweitgutachtens. Danken möchte ich ferner Frau Prof. Vera Fortunati und Dr. Angela Ghirardi von der Universität Bologna für das Interesse an meiner Arbeit, für zahlreiche Hinweise und ihr Fachwissen. Den Mitarbeitern der Biblioteca dell’Archiginnasio in Bologna und der Bayerischen Staatsbibliothek in München sei für das Bereitstellen der handschriftlichen Manuskripte sehr herzlich gedankt, ebenso Christine Reiter von der Universitätsbibliothek Augsburg. Des Weiteren haben mir zahlreiche andere Institutionen und Personen auf ganz unterschiedliche Weise geholfen. Ihnen gilt mein herzlichster Dank! Größten Dank schulde ich jedoch meinen Eltern für ihr Vertrauen in mich und die langjährige ideelle und finanzielle Unterstützung, die ich nicht genug würdigen kann. Ihnen sei diese Arbeit in Liebe gewidmet. Hamburg, im März 2015 III I Einleitung Lavinia Fontana (1552-1614) war die erste Frau, die den Beruf der Malerin professionell ausübte und sich bereits zu Lebzeiten eine beeindruckende Reputation erarbeitete. In den Quellen wird sie als „Pittora singolare tra le donne”1 (einzigartige Malerin unter den Frauen) bezeichnet und in der Tat konnte sie aufgrund ihrer zahlreichen Aufträge und Erfolge von der Kunst leben und ihre Familie ernähren, was im 16. Jahrhundert außergewöhnlich war. Auch ihr Œuvre ist ungewöhnlich umfangreich. Lavinia Fontana hinterließ ein Gesamtwerk von mehr als 100 Gemälden, das neben kleineren Devotionsbildern auch sakrale Historie in großformatigen Altarbildern sowie eine große Anzahl an Porträts und Bilder mit mythologischen Themen beinhaltet. Dies ist besonders hervorzuheben, weil sie sich am Ende des 16. Jahrhunderts in einer von Männern dominierten Kunstwelt durchsetzen musste. Malerinnen waren bis dahin im Wesentlichen auf das Genre der Porträtmalerei beschränkt, da es ihnen verboten war, Studien der Anatomie und Aktzeichnungen anzufertigen. In der hierarchischen Einordnung der klassischen Bildgattungen nahm die Historienmalerei – sakrale Historie mit eingeschlossen – von jeher eine Ausnahmestellung ein und wurde höher bewertet als die Porträtmalerei. Die aus Cremona stammende Malerin Sofonisba Anguissola schlug den im Vergleich zu Lavinia Fontana typischen Weg einer Künstlerin des 16. Jahrhunderts ein. Sie hatte sich einen guten Ruf als Bildnismalerin erworben und dadurch die Aufmerksamkeit des spanischen Königs Philipp II. gewonnen. 1559 wurde sie Hofdame in Madrid, Lehrerin von Elisabeth von Valois und porträtierte die Mitglieder des spanischen Königshauses.2 Plinius d. Ä. zitierte in Buch 35 der Naturalis Historia (Naturgeschichte) antike Künstlerinnen wie Marcia, die Tochter Varros, Timarete und Eirene und zeigte, dass die Frau als Malerin schon in der Antike ihren Ursprung hatte und kein Phänomen der Renaissance ist.3 Giovanni Boccaccio beschrieb in De mulieribus claris (über berühmte Frauen) in 106 Kapiteln die Viten berühmter Frauen der antiken Mythologie sowie mittelalterlicher Regentinnen. Er nutzte Plinius als Quelle und erzählte wieder von den antiken Malerinnen, die er Thamaris, Irene und Marcia nannte.4 1 Archivio Segreto Vaticano, Avvisi Urbinati, Lat. 1077, c. 428 A-B. 2 Sofonisba Anguissola die Malerin der Renaissance, Ausst.-Kat. Kunsthistorisches Museum Wien 1995, hrsg. von Sylvia Ferino, Wien 1995. 3 König 1978, S. 107. Vgl. Jex-Blake 1968, S. 171; Jacobs 1997, S. 18-20. 4 Boccaccios Viten entstanden zwischen 1355 und 1359. Vgl. Zaccaria 1967,
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