Heart pouring from an art-loving monastery brother

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Ludwig Tieck

Heart pourings by an art-loving monastery brother are essays on art theory by Wilhelm Heinrich Wackenroder and Ludwig Tieck , published anonymously by Johann Friedrich Unger in Berlin in 1796 .

Not the ancient Greeks and Romans are the models of a "holy" art, but Dürer , Raffael and Michelangelo . The gaze of the writing monk, the Catholic author of this “Manifesto of German Early Romanticism ”, is longingly directed towards Italy.

The 27-year-old Hermann Hesse reviews the book in a refreshingly concise manner: "Instead of reason, there is ... feeling, instead of ... art writing, the enthusiasm of a loving look". And 45-year-old Hesse regrets: "There we find everything that we lack today: faith, morality, order, soul culture".

content

The aged monk turns from his retreat to “young aspiring artists” for the purpose of “awakening good thoughts”. Right at the beginning, in the essay “Raphael's Appearance” , the monk writes the fundamental sentence for the entire booklet: “The enthusiasm of poets and artists has always been a great impulse to the world”. Raffael receives the attribute "divine" and his production rule is exemplary for "true" art: "I hold on to a certain image in the spirit that comes into my soul".

The writing monk admits that he got some of the stories from old Vasari's book . These incidents should not only offer the reader “distracting sensual pleasure”. In “The strange death of the old painter Francesco Francia , famous in his day , the first from the Lombard School” , the greatness of Raphael is indirectly emphasized: the old Francia had become artistically about Raphael through the words of praise he learned in correspondence with Raphael raised without ever having seen a picture of his competitor. When Raphael sends him a picture for viewing and kindly asks his colleague Francia to make any corrections, the latter recognizes his hubris and that his skills against the works of the divine Raphael are only “wretched, unfinished work”. . The old man breaks at this realization.

Just as bitter and of a similar style is the story of the young Antonio, who only believes that he is brilliant - soon like the "most excellent painter Raffael von Urbino". But then he doesn't believe it either. In any case, Antonio is instructed: “The artist must already find every beautiful work in himself ... art must be his higher lover, for it is of heavenly origin; just after religion, it must always be expensive ”. The "honorary memory of our venerable ancestor Albrecht Dürer" describes the writing monk's love for Nuremberg, in "his golden age ... when Germany could boast of its own patriotic art". The essay leaves an ambivalent impression. Dürer was "not born for the ideal and the sublime majesty of a Raphael".

In the essay “Of two wonderful languages ​​and their mysterious power” the monk names these two as nature and art. In them the god of men and artists are articulated. While nature draws us up to divinity, art lets us look into the invisible in our breasts.

In addition to Raphael, the attribute “divine” is only granted to Michelangelo. The essay “The Greatness of Michelangelo Buonarroti” even defines what is human and what is divine in art .

All in all: a monk tells pious stories from inside the monastery - how can it be otherwise. The last and by far the most extensive, “The Strange Musical Life of the Tonkünstler Joseph Berglinger” falls completely out of the ordinary. Previously only the visual arts were mentioned, now the church musician Berglinger quarrels with himself and above all with the profane world. The story of the composer is also outstanding in the sense that the monk's enthusiasm in every previous story is now finally “put to the test before reality”.

Quotes

  • Every work of art must speak a double language, one of the body and one of the soul .
  • Art is the flower of human sensation .
  • Every being strives for the most beautiful: but it cannot go out of itself and only sees the most beautiful in itself .
  • It is a precious gift heaven has given us to love and adore .

reception

Art and religion
  • Goethe , called by Heine “the great heathen”, rejected any “new Catholic sentimentality”, any religion of art - as “ monastery brudising, star balancing mischief ”.
  • Why do the authors give the floor to a cleric of all people? Wackenroder and Tieck consider the connection between “life and art”. Both authors consider the transcendent as a means to an end , as it is inherent in religion, (as it were to illuminate the subject).
  • In the text, art is “the other language of God”.
  • Piety is redefined in the booklet: "Religion is what makes us happy".
  • Art is - like nature - a book of God (and not the work of man).
  • The pouring out of the heart is about the "unrepeatability" of the creations of Raphael, Michelangelo and Dürer.
  • Paulin refers several times to the religious aspect, which the heart pouring out, and addresses "Wackenroder's art piety".
  • In the pouring out of the heart , “enjoyment of art with devotion” and the “unity of love and religion” are propagated.
Authorship
  • Admittedly, Tieck's share in the pouring out of the heart is not great from the crowd, but the beginnings of Sternbald can be seen in the “letter from a young German painter in Rome to his friend in Nuremberg” (Sebastian, Marie).
  • With regard to the “unsolvable question of the author”, Kern says: “Essentially, what is said belongs to both”.
  • Paulin claims that the book contains the essays “To the reader of these sheets” , “Longing for Italy” , “A letter from the young Florentine painter Antonio to his friend Jacobo in Rome” and “A letter from a young German painter in Rome to his friend in Nuremberg ” from Tieck.
Narrative construction
  • August Wilhelm Schlegel reviewed in 1797: "That [the language of the monastery brother] also has the charm of novelty precisely because it is out of date".
  • "The fiction of the monastery brother ... with his creed of sacred art" appears to be a "narrative ingenious process".
  • Köpke points to the origin of the figure of the narrating monastery brother. Johann Friedrich Reichardt associated the simple monk with the monastery brother in Nathan .

literature

Wackenroder, pourings of the heart (edition 1916)
source

Martin Bollacher (ed.): Wilhelm Heinrich Wackenroder and Ludwig Tieck: Heart pourings of an art-loving monastery brother . Reclam's Universal Library No. 18348. Stuttgart 1955 (2005 edition). 206 pages, ISBN 3-15-018348-0

First edition
  • Honorary memory of our venerable ancestor Albrecht Dürer of an art-loving monastery brother . Unger. Berlin 1796. pp. 50-73 in: Germany , vol. 3, 7th piece.
expenditure
all cited in the source, pp. 169–171 (selection):
  • Heart pouring from an art-loving monastery brother . Diederichs. Leipzig 1904
  • Ernst Ludwig Schellenberg (Hrsg.): Wilhelm Heinrich Wackenroder: Heart pourings of an art-loving monastery brother. Fantasies about art for friends of art . Kiepenheuer. Weimar 1917
  • Wilhelm Heinrich Wackenroder, Ludwig Tieck: pouring out the heart of an art-loving monastery brother . With an introduction by Oskar Walzel . Island. Leipzig 1921
  • Wilhelm Heinrich Wackenroder: pouring out the heart of an art-loving monastery brother . With an introduction by August Langen. Thomas. Kempen 1948
  • Hans Heinrich Borcherdt (ed.): Wilhelm Heinrich Wackenroder: Herzensergießungen an art-loving monastery brother . Spring man. Munich 1949
  • Evi Rietzschel (Ed.): Wilhelm Heinrich Wackenroder: Heart pourings of an art-loving monastery brother . Reclam. Leipzig 1981
as a CD
Secondary literature
  • Volker Michels (Ed.): Hermann Hesse: A literary history in reviews and essays. Suhrkamp, ​​Frankfurt am Main 1975 (st 252), ISBN 3-518-36752-8
  • Johannes P. Kern: Ludwig Tieck: poet of a crisis . Lothar Stiehm Verlag Heidelberg 1977. 243 pages. Volume XVIII of the Poetry and Science series
  • Ernst Ribbat: Ludwig Tieck. Studies in the conception and practice of romantic poetry. Pp. 82-89. Athenäum Verlag Kronberg / Ts. 1978. 290 pages (habilitation thesis, Westfälische Wilhelms-Universität Münster), ISBN 3-7610-8002-6
  • Gerhard Schulz : The German literature between the French Revolution and the restoration. Part 1. The Age of the French Revolution: 1789–1806. Munich 1983. 763 pages, ISBN 3-406-00727-9
  • Roger Paulin: Ludwig Tieck . JB Metzlersche Verlagsbuchhandlung Stuttgart 1987. Series: Metzler Collection; M 185, 133 pages, ISBN 3-476-10185-1
  • Karl Otto Conrady : Goethe - life and work. Düsseldorf and Zurich 1999. 1097 pages, ISBN 3-538-06638-8

Individual evidence

  1. ^ Afterword by Richard Benz in the source, p. 179, 12. Zvo
  2. ^ Afterword by Richard Benz in the source, p. 204, 5th Zvo
  3. ↑ quoted in Michels, p. 237, 9th Zvu
  4. ↑ cited in Michels, p. 238, 7th Zvu
  5. ↑ Source, p. 121, 3rd Zvu: Roland Kanz (ed.): Giorgio Vasari: The life of Lionardo da Vinci, Raffael von Urbino and Michelagnolo Buonarroti. Reclam Stuttgart 1995. 390 pages, ISBN 978-3-15-009467-9
  6. ^ AW Schlegel, quoted in Schulz, p. 256, 4th Zvu
  7. ↑ Source, pp. 74, 35. Zvo: “In the world of artists there is no higher object more worthy of adoration than: - an originally original! - To work with diligent diligence, faithful imitation, and prudent judgment is human ; but to see through the whole essence of art with a completely new eye, to grasp it as it were with a completely new handle - is divine . "
  8. ↑ Schulz, p. 392, 22. Zvo
  9. ↑ Source, p. 31, 25. Zvo
  10. ↑ Source, p. 44, 16. Zvo
  11. ↑ Source, p. 47, 19. Zvo
  12. ↑ Source, p. 71, 14. Zvo
  13. ↑ cited in the source, p. 180, footnote 2
  14. ↑ Conrady, p. 709, 20. Zvo
  15. ↑ Schulz, p. 257, 17. Zvo
  16. ↑ Kern, p. 17, 10th Zvu
  17. ↑ Kern, p. 19, 22. Zvo
  18. ↑ Kern, p. 20, 23. Zvo
  19. ↑ Ribbat, p 84
  20. ↑ Paulin, p. 42 middle and p. 43 top
  21. ^ Paulin, p. 43, 14. Zvo
  22. ↑ Kern, p. 42, 14. Zvo
  23. ↑ Kern, p. 137, 15. Zvu
  24. ↑ Ribbat, p 87
  25. ↑ Kern, p. 21, 5. Zvo
  26. ↑ Paulin, p. 43, 2nd Zvu
  27. ^ AW Schlegel, quoted in Schulz, p. 256, 21. Zvo
  28. ^ Afterword by Richard Benz in the source, p. 194, 17. Zvo
  29. ↑ quoted in the source, p. 122, footnote 3: Rudolf Köpke: Ludwig Tieck. Memories from the life of the poet after his oral and written communications. Leipzig 1855, part 1, p. 222
  30. ↑ Source, p. 169 center