The Project Gutenberg EBook of Deutsche Landschaften, by Albrecht Dürer This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: Deutsche Landschaften Author: Albrecht Dürer Commentator: Oswald Götz Release Date: February 15, 2016 [EBook #51223] Language: German Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK DEUTSCHE LANDSCHAFTEN *** Produced by The Online Distributed Proofreading Team at http://www.pgdp.net [Illustration: Titel] Albrecht Dürer Deutsche Landschaften Wilhelm Andermann-Verlag Königstein i/Taunus & Leipzig Nach eigenen Uvachromaufnahmen des Verlages wurden wiedergegeben: »Die Drahtziehmühle« (Kupferstichkabinett, Berlin) -- »Fränkische Landschaft beim Dorf Kalkreuth« (Kupferstichkabinett, Berlin) -- »Nürnberg« -- »Häusergruppe von St. Johann bei Nürnberg« -- »Dorf Kalkreuth« -- »Altes Schloß in den Dolomiten« -- »Trient« (sämtlich Kunsthalle, Bremen). Mit Genehmigung der G. Grote'schen Verlagshandlung, Berlin, aus dem großen Dürer-Werke von Lippmann: »Ansicht von Innsbruck« (Albertina, Wien), »Ansicht des Schlosses von Trient« (British Museum, London), »Trockensteg beim Hallertürlein in Nürnberg« (Albertina, Wien). -- Druck von F. A. Brockhaus, Leipzig. Entwurf des Umschlags von Professor Walter Tiemann, Leipzig. -- Copyright by Wilhelm Andermann Verlag, Königstein im Taunus. 1.-20. Tausend · Weihnachten 1922. Wenn man den Namen Albrecht Dürer ausspricht, denkt man zunächst nicht an den Schöpfer der Landschafts-Aquarelle, sondern an den Dürer der Apokalypse, der Passionen, des Marienlebens, den Dürer der Meisterstiche und der Münchener Apostel. Selbst innerhalb des zeichnerischen Werkes ist man geneigt, den aquarellierten Landschaften eine Sonderstellung einzuräumen. Man ist erstaunt, zwischen all dem Bekannten, das im Thema »der Mensch« zusammengefaßt sein mag, diese farbenfrohen, unmittelbaren Improvisationen nach der Natur zu finden, die sich scheinbar so schwer in Einklang bringen lassen mit den heißen Bemühungen Dürers um die Form. Wie kommt Dürer überhaupt dazu, sich der Landschaft zuzuwenden, eine Naturwiedergabe ohne Menschen und menschliches Treiben zu versuchen? Die Kunst des 15. Jahrhunderts hatte keine absolute Landschaftsdarstellung gekannt, weder zur Zeit eines Konrad Witz noch zu der eines Martin Schongauer. Unter Dürers Landschafts-Aquarellen finden wir mancherlei: Stadtansichten, Häusergruppen, Landschaftsaufnahmen, Baum- und Felsstudien mit Hintergründen. Man hat vor diesen Blättern häufig das Urteil gefällt, Dürer sei Naturalist gewesen, besonders im Hinblick auf Detailstudien wie das große Rasenstück, und hat hierfür die berühmte Stelle zitiert: dann wahrhaftig steckt die Kunst in der Natur, wer sie heraus kann reissen, der hat sie. Andrerseits war man geneigt, vor gewissen Blättern mit stimmungsimpressionistischem Einschlag in Schwärmerei auszubrechen und hier einen starken Hang zur Romantik zu bemerken. Beides dürfte weit über das Ziel hinausgeschossen sein. Man muß sich zweierlei vergegenwärtigen. Einmal handelt es sich bei allen Landschafts-Aquarellen -- wie auch bei den eigentlichen Zeichnungen -- um Studien und nicht um fertige Bilder. Nur ein Impressionist, in dessen Kunst das scheinbar Unfertige zum Endgültigen erhoben wird, kann in bezug auf die künstlerische Tat die Aquarelle auf die gleiche Basis bringen wie irgendeine ausgeführte Bildtafel. Dürer hat in ihnen gewiß viel weniger gesehen. Hatte ihn eine besondere Linie gereizt, irgendein Gebirgszug oder eine landschaftliche Formation, so hielt er das Gesehene rasch fest, um es später vielleicht einmal als Motiv zu verwerten. Zum zweiten aber hat er eine Art topographisches Interesse gehabt, das Verlangen, Orte, die er auf Reisen berührte, ihrer Eigentümlichkeit wegen sich aufzuzeichnen. Vielleicht entstand auch manches aus der stolzen Freude, sich Belege für seine Reiseroute zu verschaffen, alles Dinge, zu denen man ja die literarische Parallele in seinen Tagebuchaufzeichnungen findet. Wir verdanken dieser Gründlichkeit unter anderem den Erweis einer frühen Italienreise. Zu alledem aber, wird man einwenden, hätte eine einfache Zeichnung mit der Feder oder dem Stift auch gereicht. Am auffallendsten seien doch gerade die Farben, die malerischen Zusammenhänge, wie sie sonst nicht bei Dürer wiederkehren. Allerdings wird hier die ganze Frage am brennendsten. Warum steht Dürer mit diesen Aquarellen so isoliert unter seinen Zeitgenossen, und warum hat er, wenn ihm wirklich eine Landschaftskunst, losgelöst von Historie und Porträt, am Herzen gelegen hat, kein einziges ausgeführtes Bild in Öl oder Tempera hinterlassen, wie wir sie von Altdorfer und der Donauschule kennen? Die Beantwortung dieser Frage führt weit in die Probleme der deutschen Renaissance hinein. Dürer hat wahrscheinlich nie an eine absolute Landschaftskunst gedacht, er war viel zu sehr in Anspruch genommen von dem Hauptproblem der Zeit, dem Menschen und seinem Verhältnis zu Gott und der Welt. Wäre er reiner Naturalist gewesen, so hätte er sich der Landschaftsmalerei zugewandt, zumal sein Interesse und seine Liebe allen Dingen der Natur gegenüber außerordentlich groß war. Die Gründlichkeit und Sachlichkeit bei allen Naturstudien entspringt bei Dürer nicht einem naturalistischen Verlangen, das sich mit der objektiven Wiedergabe sichtbarer Tatsachen zufrieden gibt. Hinter alledem steckt bei ihm der bohrende Trieb nach Erkenntnis. Den Grund aller Dinge zu finden, die Wahrheit zu finden, zur Klarheit über das Sein und seine Probleme zu gelangen, war ihm tiefinnerstes Bedürfnis. Seine mikrokosmischen Studien, gezeichnet oder farbig, führten ihn als Künstler an die Zusammenhänge heran. Wenn er, um ein Grenzbeispiel zu wählen, auf einem Blatte die Morgendämmerung festzuhalten sucht, lagen bei ihm gewiß Absichten erkenntnisverlangender Art vor. Gerade vor einem solchen Blatte, dessen malerische Qualitäten zu verlockenden Perspektiven im Schaffen Dürers führen könnten, hüte man sich in den gegenteiligen Fehler zu verfallen und an Stelle von Naturalismus von Stimmungsmalerei, von Romantik zu sprechen. Dürer ist nicht der Vorläufer von Caspar David Friedrich gewesen und hätte es seiner ganzen Veranlagung nach nie werden können, auch wenn er formal weiter malerischen Dingen nachgegangen wäre. Die Versenkung in die Landschaft, die sie zum Träger seelischer Funktionen macht, kennt er nicht. Als Beweis betrachte man einmal die Landschaften der Apokalypse. Die Münchener Apostel, Dürers tiefstes Bekenntnis, stehen vor schwarzem Grund. Hier ist für Landschaft kein Raum. Wie anders Grünewald und Altdorfer! Unter dieser Erkenntnis erleidet die Schönheit der Aquarelle keine Einbuße. Im Gegenteil, je häufiger und intensiver man sich vor dem unscheinbarsten Blatte den Mann in den Sinn ruft, der dies schuf, je tiefer man durch das Einzelne in die Persönlichkeit Dürers dringt, um so reicher wird die Bewunderung sein für die knappe Art des Sehens, die Frische und Unmittelbarkeit der Beobachtung und Niederschrift, für die Kühnheit der Farben und Leichtigkeit des Strichs. Gerade solche Blätter wie die Landschafts-Aquarelle, die etwas abseits von den großen Arbeiten liegen, müssen unser Entzücken hervorrufen, sind wir Deutsche doch stets geneigt, individuellen Äußerungen nachzugehen. Und nichts begeistert uns mehr als eine große Persönlichkeit, deren umfassendes Streben sich uns bis in die kleinste Studie offenbart. Dr. Oswald Götz. [Illustration: Nürnberg] [Illustration: Häusergruppe von St. Johann bei Nürnberg] [Illustration: Trient] [Illustration: Altes Schloß in den Dolomiten] [Illustration: Ansicht von Innsbruck] [Illustration: Dorf Kalkreuth] [Illustration: Die Drahtziehmühle] [Illustration: Ansicht des Schlosses von Trient] [Illustration: Fränkische Landschaft beim Dorf Kalkreuth] [Illustration: Trockensteg beim Hallertürlein in Nürnberg] [Illustration: Rücktitel] Anmerkungen zur Transkription Die Abbildung der vorderen Umschlagseite wurde in den Abbildungsteil verschoben. 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