Zola Manet Moderne Form Informe

Manet Zola als Druckversion (PDF mit Abb. 635 KB)

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Das Fleisch des Malers. Manet malt Zola, Zola schreibt über Manet

in: Magazin der Basler Zeitung, Nr. 13, 3.4.1999, S. 6-7.

Kapitel V: Der Aspekt der Peinture

Tatsächlich erscheint mir Zolas Manet-Deutung dort am originellsten zu sein, wo er – unfreiwillig – an die Grenzen des Verstehens und der Sprache kommt, wo sich in seiner platten Genieästhetik und seinem wissenschaftsgläubigen Optimismus Löcher zeigen. Gleichwohl vermag die Thematisierung des „Unförmigen“, die sich bei Zola ankündigt und die künstlerische Moderne wie ein Schatten begleiten wird, höchstens einen Aspekt von Manets Bildern zu erfassen. Denn jedes moderne Kunstwerk ist, in jeweils unterschiedlicher Gewichtung, zugleich „unförmig“ und Form, Verweigerung und Ermöglichung der bildnerischen Darstellung.
Gerade das Bildnis Zolas erlaubt es, den bei Manet so augenfälligen Aspekt der malerischen Gestaltung, den Aspekt der „Peinture“ zu erkennen, die von Poussin bis Matisse das Lebenselixier der französischen Kunst ist. Und schliesslich gilt für das „Unförmige“, dass auch dieses in der Kunst nur als Effekt möglich ist, das heisst als das Paradox eines kalkulierten Unförmigen.
Man löst sich nur ungern davon, sich die Begegnung grosser Köpfe der Vergangenheit als geistige Gipfeltreffen vorzustellen. Zola und Manet waren einander zweifellos von Nutzen und haben sich mit der Hilfe des jeweilig anderen profiliert. Doch ihre Persönlichkeiten und Interessen waren wohl zu verschieden, um sich verbinden zu können. Zolas maskenartiges Gesicht und der abwesende Blick, der sich von der bezaubernden Umgebung abwendet und auf anderes richtet, bleibt in Manets Bildnis stehen als Ausdruck der Fremdheit, die die beiden trennt.

Kapitel I: Einleitung
Kapitel II: Zolas Kunstauffassung …
Kapitel III: … auf Manet angewendet
Kapitel IV: Das Bild als Artefakt
Manet Zola Kapitel V Kapitel V: Der Aspekt der Peinture
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Manet Zola als Druckversion (PDF mit Abb. 635 KB)

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