“Carmencita”, Portrait of Charlotte Berend-Corinth 
in Spanish Dress, Lovis Corinth
Lovis Corinth
“Carmencita”, Portrait of Charlotte Berend-Corinth in Spanish Dress
DE
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Lovis Corinth

“Carmencita”, Portrait of Charlotte Berend-Corinth in Spanish Dress, 1924


Dimensions
130.0 x 90.0 cm
Physical Description
Oil on canvas
Inventory Number
2064
Acquisition
Acquired in 1959, property of Städelscher Museums-Verein e.V.
Status
On display, 1st upper level, Modern Art, room 4

Texts

About the Work

"The picture was created after an amusing evening. The celebration at the Secession was called 'A Southern Night'. I had dressed up as a Spanish woman." According to Charlotte Berend-Corinth, this was how the almost life-size portrait came about. It is the last of the eighty or so likenesses which Lovis Corinth painted of his wife. Corinth is often regarded as a representative of German Impressionism, alongside Liebermann and Slevogt. Here, the artist is concerned less with the precise reproduction of physiognomical details than with capturing a specific moment after the ecstatic celebration.

About the Acquisition

The core of the museum's collection of modernist works was lost entirely in 1937 as a result of the campaign pursued by the National Socialists to confiscate what they deemed "degenerate art". The first decades after the Second World War were therefore devoted to rebuilding the department. Given the conditions in the post-war years, the city of Frankfurt was in no position to make funds for the purchase of art available in any significant way, and so the revived Museums-Verein focused intensively on this area of collection. The museum's post-war phase of recovery began in 1957, and in 1958 it was able to purchase Corinth's portrait of his wife, Charlotte, dressed as Carmen from the 66,000 marks received in donations. A year before his death, the artist summoned his remaining strength and energy to commit to canvas this monumental portrait of his wife, who was twenty-three years his junior. This important late work marked Corinth's return to the gallery, where, until the seizure of his works in 1937, he had been represented with three paintings.

Audio

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    01:15
  • Focus on art history
    01:52

Work Data

Basic Information

Title
“Carmencita”, Portrait of Charlotte Berend-Corinth in Spanish Dress
Painter
Period Produced
School
Object Type
Physical Description
Oil on canvas
Material
Technique
Label at the Time of Manufacture
Bezeichnet, signiert und datiert in der Bildmitte links: Carmencita Lovis CORINTH 1924

Property and Acquisition

Institution
Departement
Collection
Creditline
Städel Museum, Frankfurt am Main, Eigentum des Städelschen Museums-Vereins e.V.
Picture Copyright
Public Domain
Acquisition
Acquired in 1959, property of Städelscher Museums-Verein e.V.

Work Content

Motifs and References

Iconclass

Primary
Secondary
  • 41D3 folk costume, regional costume

Research and Discussion

Provenance

Object History
Nachlass Lovis Corinth (Charlotte Berend-Corinth [1880-1967], Berlin/New York)
erworben durch den Städelschen Museums-Verein, Frankfurt am Main 1959.

Information

Since 2001, the Städel Museum has systematically been researching the provenance of all objects that were acquired during the National Socialist period, or that changed owners or could have changed owners during those years. The basis for this research is the “Washington Declaration”, also known as the “Washington Conference Principles”, formulated at the 1998 “Conference on Holocaust-Era Assets” and the subsequent “Joint Declaration”.

The provenance information is based on the sources researched at the time they were published digitally. However, this information can change at any time when new sources are discovered. Provenance research is therefore a continuous process and one that is updated at regular intervals.

Ideally, the provenance information documents an object’s origins from the time it was created until the date when it found its way into the collection. It contains the following details, provided they are known:

  • the type of acquisition and/or the way the object changed hands
  • the owner's name and place of residence
  • the date on which it changed hands

The successive ownership records are separated from each other by a semicolon.

Gaps in the record of a provenance are indicated by the placeholder “…”. Unsupported information is listed in square brackets.

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Last update

10.04.2024