Manet Velázquez Krise Spanien Reise

Manets Reise zu Velázquez als Druckversion (PDF mit Abb. u. Fn. 2.281 KB)

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Manets Reise zu Velázquez und das Problem der kunstgeschichtlichen Genealogie

in: Umwege. Ästhetik und Poetik exzentrischer Reisen, hrsg. von Bernd Blaschke, Rainer Falk, Dirck Linck, Oliver Lubrich, Friederike Wißmann und Volker Woltersdorff, Bielefeld 2008, S. 119-158.

Einleitung

In seinem Essay über Vorgestellte Reisen erinnert Gert Mattenklott an die Möglichkeit, schon vor dem Antritt einer Reise zu erkennen, daß man das Beste daran schon hinter sich hat. Sein Beispiel ist Joris-Karl Huysmans‘ Romanfigur des Esseintes. Dieser sah sich bei einer Kutschenfahrt durch den Pariser Nebel und dem Besuch eines englischen Restaurants im Bahnhofsviertel so entschieden nach London versetzt, daß er zu der Überzeugung kam, die Wirklichkeit könne dahinter nur zurückbleiben. Beruhigt nahm er seine Koffer und fuhr nach Hause, denn: „Wozu sich bewegen, wenn man so herrlich in einem Stuhl reisen kann?“ Zur selben Überzeugung hätte auch Édouard Manet kommen können, als er 1865 eine Spanienreise zu planen begann, so gründlich hispanisiert war das damalige Paris und so lebendig das innere Spanien, das er sich selbst geschaffen hatte. Aus welchen Gründen er dennoch fuhr, ist das Thema der folgenden Ausführungen. Zu schildern gibt es allerdings weder einen dramatischen Reiseverlauf noch denkwürdige Vorkommnisse unterwegs, denn äußerlich war die Reise ereignisarm. Als um so komplexer erweist sich deren innere, psychische Dimension. Die Reise galt der längst verstorbenen Malerpersönlichkeit des Velázquez, deren Nähe Manet im Augenblick einer tiefen künstlerischen und persönlichen Krise suchte. Daß es Manet nicht nur um das Studium von Velázquez‘ Meisterwerken im Prado ging, sondern daß er deren Schöpfer hier endgültig als eine ‚innere Figur‘ installierte, mit der er in seiner Malerei dialogisierte, ist die nachfolgend auszuführende These. Um Manets Spanienreise als Ausdruck einer Krise wie auch als Weg zu ihrer Bewältigung zu begreifen, ist mancher ‚Umweg‘ erforderlich, der vom Reisethema im engeren Sinne wegführt.

Punkt Manet Velazquez Einleitung
Manet Velazquez Kapitel I: Spanien in Paris
Kapitel II: Der Zögling Goyas
Kapitel III: Maître Velázquez
Kapitel IV: Legitimität, Vaterschaft und Tradition, Teil 1
Kapitel IV: Legitimität, Vaterschaft und Tradition, Teil 2
Kapitel V: Velázquez als ‚innere Figur‘, Teil 1
Kapitel V: Velázquez als ‚innere Figur‘, Teil 2
Kapitel VI: Tradition und/oder Modernität
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Manets Reise zu Velázquez als Druckversion (PDF mit Abb. u. Fn. 2.281 KB)

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