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+eBook #51223 (https://www.gutenberg.org/ebooks/51223)
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-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.
-
-
-
-
-
-End of the Project Gutenberg EBook of Deutsche Landschaften, by Albrecht Dürer
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-
-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 ***
-
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-Produced by The Online Distributed Proofreading Team at
-http://www.pgdp.net
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-
-
-<div class="figcenter">
-<img src="images/cover.jpg" alt="Cover" />
-</div>
-
-<div class="chapter">
-<h1>
-Albrecht Dürer<br />
-Deutsche
-Landschaften</h1>
-</div>
-
-<p class="center">Wilhelm Andermann-Verlag<br />
-Königstein <sup>i</sup>/Taunus &amp; Leipzig
-</p>
-
-<hr class="chap" />
-
-<div class="chapter">
-<div class="blockquot">
-
-<p>Nach eigenen Uvachromaufnahmen des Verlages wurden wiedergegeben:
-»Die Drahtziehmühle« (Kupferstichkabinett, Berlin) &ndash; »Fränkische
-Landschaft beim Dorf Kalkreuth« (Kupferstichkabinett, Berlin) &ndash;
-»Nürnberg« &ndash; »Häusergruppe von St. Johann bei Nürnberg« &ndash;
-»Dorf Kalkreuth« &ndash; »Altes Schloß in den Dolomiten« &ndash; »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). &ndash; Druck von F. A. Brockhaus, Leipzig.
-Entwurf des Umschlags von Professor Walter Tiemann, Leipzig. &ndash;
-Copyright by Wilhelm Andermann Verlag, Königstein im Taunus.</p></div>
-
-<p class="center">
-1.&ndash;20. Tausend · Weihnachten 1922.
-</p>
-</div>
-
-<hr class="chap" />
-
-<div><img class="drop" src="images/drop-w.png" alt="" /></div>
-<p class="drop">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.</p>
-
-<p>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.</p>
-
-<p>Beides dürfte weit über das Ziel hinausgeschossen sein. Man muß sich zweierlei
-vergegenwärtigen. Einmal handelt es sich bei allen Landschafts-Aquarellen &ndash;
-wie auch bei den eigentlichen Zeichnungen &ndash; 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.</p>
-
-<p>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?</p>
-
-<p>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!</p>
-
-<p>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.</p>
-
-<p class="right">
-Dr. <em class="gesperrt">Oswald Götz</em>.<br />
-</p>
-
-<hr class="chap" />
-
-<div class="figcenter">
-<a href="images/illu-002-l.jpg"><img src="images/illu-002-s.jpg" alt="" title="Klick für größere Abbildung" /></a>
-<div class="caption">Nürnberg</div>
-</div>
-
-<div class="figcenter">
-<a href="images/illu-007-l.jpg"><img src="images/illu-007-s.jpg" alt="" title="Klick für größere Abbildung" /></a>
-<div class="caption">Häusergruppe von St. Johann bei Nürnberg</div>
-</div>
-
-<div class="figcenter">
-<a href="images/illu-008-l.jpg"><img src="images/illu-008-s.jpg" alt="" title="Klick für größere Abbildung" /></a>
-<div class="caption">Trient</div>
-</div>
-
-<div class="figcenter">
-<a href="images/illu-009-l.jpg"><img src="images/illu-009-s.jpg" alt="" title="Klick für größere Abbildung" /></a>
-<div class="caption">Altes Schloß in den Dolomiten</div>
-</div>
-
-<div class="figcenter">
-<a href="images/illu-010-l.jpg"><img src="images/illu-010-s.jpg" alt="" title="Klick für größere Abbildung" /></a>
-<div class="caption">Ansicht von Innsbruck</div>
-</div>
-
-<div class="figcenter">
-<a href="images/illu-011-l.jpg"><img src="images/illu-011-s.jpg" alt="" title="Klick für größere Abbildung" /></a>
-<div class="caption">Dorf Kalkreuth</div>
-</div>
-
-<div class="figcenter">
-<a href="images/illu-012-l.jpg"><img src="images/illu-012-s.jpg" alt="" title="Klick für größere Abbildung" /></a>
-<div class="caption">Die Drahtziehmühle</div>
-</div>
-
-<div class="figcenter">
-<a href="images/illu-013-l.jpg"><img src="images/illu-013-s.jpg" alt="" title="Klick für größere Abbildung" /></a>
-<div class="caption">Ansicht des Schlosses von Trient</div>
-</div>
-
-<div class="figcenter">
-<a href="images/illu-014-l.jpg"><img src="images/illu-014-s.jpg" alt="" title="Klick für größere Abbildung" /></a>
-<div class="caption">Fränkische Landschaft beim Dorf Kalkreuth</div>
-</div>
-
-<div class="figcenter">
-<a href="images/illu-015-l.jpg"><img src="images/illu-015-s.jpg" alt="" title="Klick für größere Abbildung" /></a>
-<div class="caption">Trockensteg beim Hallertürlein in Nürnberg</div>
-</div>
-
-<hr class="chap" />
-
-<div class="figcenter">
-<img src="images/back.jpg" alt="" />
-</div>
-<hr class="chap" />
-
-<div class="chapter">
-<div class="transnote">
-
-<p class="h2">Anmerkungen zur Transkription</p>
-
-<p>Zu den Abbildungen im Text wurden größere Abbildungen verknüpft.</p>
-
-<p>Die Abbildung der vorderen Umschlagseite wurde in den Abbildungsteil verschoben.</p>
-</div>
-</div>
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
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