Zum Paragone: Malerei, Skulptur und Dichtung in der by Christiane Hessler

By Christiane Hessler

Die Paragonefrage, erstmals ausgiebig von Leonardo diskutiert, besitzt im gesamten Quattrocento eine rege Vorgeschichte, die bei allen frühen Impulsen durch Petrarca als die entscheidende section der Formierung der Debatte betrachtet werden muss. Spektakuläre Textfunde der Humanisten, Kunsttraktate, auch eigenhändig von Malern oder Bildhauern verfasst, die Blüte an Vielfachbegabungen, öffentlichen Künstlerwettbewerben und gattungsmäßigen Grenzüberschreitungen verliehen dem wertenden Vergleich der Künste im Italien des 15. Jahrhunderts sein ganz eigenes Gepräge. Erstmals steht dieses – mitsamt dem Fundus an eruierten Quellen - im Zentrum einer grundlegenden Monographie. Leonardos argumentativer Eigenanteil gewinnt ebenso Konturen wie die Genese der Diskussion. Vorweg zweiseitig bemalte Bildnistafeln wie Leonardos Porträt der Ginevra de´ Benci bieten mit Steinimitationen und Versen spannungsreiche „Übergriffe“ in die Nachbargattungen. Für Piero della Francesca waren sie Programm, als er das vierteilige Landschaftspanorama im buchartigen Montefeltro-Diptychon zum Ariadnefaden einer poetischen Erzählung machte.



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