Degas’ particular fondness for ballet was also reflected in a series of sculptures of ballet dancers in typical poses. These figures were merely study objects to better understand sequences of movements. Almost all figures are nudes, without distinct facial features and with only roughly defined limbs. Degas made them rather unconventionally, from wax, wire and crown corks. His sketchy modelling technique, the visible fingerprints and the uneven standing surfaces of the figures create a lively play of light and shadow that can be described as impressionistic.
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 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.
If you have any questions or suggestions, please contact the museum at .