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

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

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


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.


  • Basic information
  • Focus on art history

Work Data

Basic Information

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

Property and Acquisition

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

Work Content

Motifs and References


  • 41D3 folk costume, regional costume

Research and Discussion


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


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

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