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Diplomarbeit DIPLOMARBEIT Titel der Diplomarbeit Leonardo da Vincis Zeichnung „Kriegerbüste im Profil“ im Rahmen der Tradition von Helden- und Herrscherporträts sowie deren Bedeutung für Leonardos graphisches Gesamtwerk Verfasserin Katharina Fuchshuber angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, im Oktober 2007 Studienkennzahl lt. Studienblatt: A 315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuer: Univ.-Prof. Dr. Artur Rosenauer ii iii Danksagung Die vorliegende Arbeit ist unter der Betreuung von Professor Artur Rosenauer entstanden. Für seinen fachkundigen Rat und seine umfassende Hilfsbereit- schaft möchte ich mich an dieser Stelle herzlich bedanken. Mein Dank für fachliche Auskünfte und Anregungen gilt auch den Kuratoren Hugo Chapman (British Museum, Dep. of Prints and Drawings), Alex Corney (Victoria and Albert Museum, sculpture), Claudia Cryza-Gersch (Kunsthistorisches Museum, Kunstkammer), Sylvia Ferino (Kunsthistorisches Museum, Gemäldegalerie), Michael Knuth (Berliner Staatsmuseen) und Matthias Pfaffenbichler (Kunsthistorisches Museum, Hofjagd- und Rüstkammer). Besonderer Dank gebührt meinen lieben Eltern, die mich auf meinem Bildungsweg immer verständnisvoll unterstützt haben. Für die aufwändige Arbeit des Korrekturlesens sei meiner Cousine Gudrun Kellner sowie Helene Breitenfellner gedankt. Auch Christoph Henrichs hat mit seinen hilfreichen Ideen einen wesentlichen Beitrag zu den letzten Schliffen dieser Arbeit geleistet. Con tutto il cuore vorrei ringraziare Matteo che mi ha fatto portare avanti questa tesi con il suo sostegno morale ed emotivo. Ha mostrato un gran talento nel motivarmi, tanta pazienza e mi ha dato un aiuto fondamentale non solo con le sue conoscenze informatiche. iv v INHALT 1 EINLEITUNG....................................................................................... 3 2 LEONARDO DA VINCI: KRIEGERBÜSTE IM PROFIL, BRITISH MUSEUM, LONDON........................................................................... 6 2.1 Zuschreibung............................................................................................................. 7 2.2 Zeichentechnik .......................................................................................................... 8 2.3 Datierung.................................................................................................................... 9 3 ENTSTEHUNGSUMSTÄNDE: KÜNSTLERISCHE UND KULTUR- HISTORISCHE EINFLÜSSE............................................................. 10 3.1 Andrea del Verrocchios künstlerischer Einfluss auf Leonardo und dessen Kriegerbüsten-Zeichnung ...................................................................................... 10 3.1.1 Bedeutende zeitgenössische Krieger-Reliefs in Verwandtschaft zu Leonardos Zeichnung.................................................................................................................. 12 3.1.1.1 Darius-Reliefs der Della-Robbia-Werkstatt................................................... 13 3.1.1.2 Alexander-Reliefs.......................................................................................... 16 3.1.1.3 Alexander der Große und Darius III. ikonographisch betrachtet .................. 22 3.1.2 Wechselwirkung zwischen Leonardo und Andrea del Verrocchio ............................ 25 3.1.2.1 Die Werkstatt Verrocchios ............................................................................ 25 3.1.2.2 Gemeinsame Werke Verrocchios und Leonardos........................................ 27 3.1.2.3 Parallelen zwischen ausgewählten Werken Verrocchios und der Kriegerbüsten-Zeichnung Leonardos ........................................................... 30 3.1.2.4 Leonardo nach Verrocchio oder Verrocchio nach Leonardo? ...................... 36 3.2 Die Medici als wichtige Inspirationsquelle für Leonardo und Verrocchio ........ 39 3.2.1 Die „Giostre“ der Medici ............................................................................................ 39 3.2.2 Der „all’antica“-Harnisch im Quattrocento................................................................. 43 3.2.3 Antikenentlehnung und Formerweiterung der „all’antica“-Harnische bei Leonardos Kriegerbüsten-Zeichnung und den Feldherren-Reliefs Verrocchios Nachfolger ...... 45 3.2.4 Lorenzo il Magnifico und Matthias Corvinus ............................................................. 48 3.2.5 Die Antikensammlung der Medici.............................................................................. 50 4 DIE TRADITION DER HELDEN- UND HERRSCHERPORTRÄTS .. 53 4.1 Die Vorbildwirkung antiker Münzen für Porträtdarstellungen............................ 53 4.1.1 Pisanello und Andere ................................................................................................ 54 4.1.2 Die Vorbildwirkung antiker Münzen auf Leonardo .................................................... 55 4.1.3 Giovanni Mansionarios „Historia Imperialis“ ............................................................. 56 4.1.4 Suetons Kaiserviten .................................................................................................. 57 4.1.5 Desiderios zwölf Cäsaren ......................................................................................... 59 4.1.6 Petrarcas „De Viris illustribus“ und die Zyklen der „Uomini Famosi“ ........................ 62 4.1.7 Domenico Ghirlandaios Heldenporträts in der „Sala dei Gigli” ................................. 65 4.1.8 Heldenporträt-Medaillons als Architekturdekoration ................................................. 66 4.2 Marco Zoppos phantastische Heldenporträts...................................................... 68 5 LEONARDOS MANIE DES KRIEGERTYPUS ................................. 71 5.1 Typus des reifen Mannes – Kriegerbüstentypus ................................................. 72 5.2 Typus des Jünglings............................................................................................... 80 5.3 Bedeutung der Physiognomie und Physiognomik für Leonardo ...................... 83 5.4 Identifizierung der Gesichtstypen ......................................................................... 87 6 FAZIT BEZÜGLICH DES CHARAKTERS UND DES ZWECKS LEONARDOS KRIEGERBÜSTEN-ZEICHNUNG ............................. 88 6.1 Charakter der Kriegerbüsten-Zeichnung.............................................................. 89 6.2 Zweck der Kriegerbüsten-Zeichnung.................................................................... 90 7 FAZIT BEZÜGLICH DER DATIERUNG DER KRIEGERBÜSTEN- ZEICHNUNG LEONARDOS..............................................................92 8 DER NACHHALL LEONARDOS KRIEGERBÜSTEN-ZEICHNUNG 93 8.1 Michelangelos Präsentationsblätter......................................................................93 9 RESÜMEE .........................................................................................95 10 ABBILDUNGSVERZEICHNIS .........................................................101 11 BIBLIOGRAPHIE ............................................................................106 12 ANHANG .........................................................................................115 12.1 Zusammenfassung................................................................................................117 12.2 Lebenslauf..............................................................................................................118 2 1 Einleitung Aus Leonardo da Vincis umfangreichem graphischen Werk sticht eine Zeichnung aus seiner frühen Florentiner Schaffensperiode in ihrer Präzision und aufmerksamen Detailgestaltung besonders hervor: die so genannte „Kriegerbüste im Profil“, die sich heute im British Museum in London befindet. Sie zeigt einen mit phantasiereich dekoriertem Helm und Harnisch ausgestatteten Mann mittleren Alters im strengen Profil. Dieses Blatt soll den Ausgangs- und Mittelpunkt der vorliegenden Arbeit bilden. Die Zeichnung stellt an sich eine Besonderheit dar, da sie durch eine ausgeprägte Formenharmonie und eine verblüffende stilistisch-technische Raffinesse besticht. Ihr soll das erste Kapitel gewidmet sein und das Werk in seiner Zuschreibung, Zeichentechnik und Datierung untersucht werden. Betrachtet man die Zeichnung in Zusammenhang mit Leonardos graphischem Gesamtwerk kommt ihr eine außerordentliche Rolle zu. Eine Analyse der Vielzahl seiner Studien bringt ans Licht, dass Leonardo stets an diesem im Londoner Blatt angelegten physiognomischen Typus festhält und ihn in unterschiedlichsten Kontexten seiner Arbeiten einbringt. Das Antlitz findet sich mit unterschiedlicher Haartracht, im Alter gesteigert und in der Ansicht variiert wieder – die markanten Gesichtszüge jedoch wiederholen sich in allen Beispielen und scheinen den Künstler über Jahrzehnte hin nicht mehr loszulassen. Die Kriegerbüsten-Zeichnung ist dabei die am feinsten ausgearbeitete Variante davon und stellt chronologisch gesehen das erste Beispiel Leonardos Auseinandersetzung mit diesem Gesichtstypus dar. Sie nimmt somit eine prototypische Funktion ein. Vor den Ausführungen zu Leonardos Manie des Kriegertypus, denen in Kapitel 5 Raum gegeben werden soll, seien nach den Ausführungen zum Londoner Blatt zunächst die Entstehungsumstände der Zeichnung untersucht, um verstehen zu können, wie Leonardo überhaupt zu diesem Thema und dieser Art der Darstellung kommt. Stellt die Kriegerbüsten-Zeichnung zwar ein Phänomen innerhalb Leonardos zeichnerischen Schaffens dar, so bewegt jedoch auch er sich auf dem Gebiet der Kriegerporträtdarstellung nicht
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