Jünger, Karl Schmidt-Rottluff
Karl Schmidt-Rottluff
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664 x 517 mm
501 x 405 mm
Physical Description
Woodcut on laid paper
Inventory Number
Object Number
66059 D
Acquired in 1948 as a donation from the heirs of the Carl Hagemann estate
Can be presented in the study room of the Graphische Sammlung (special opening hours)


About the Work

During World War I, Schmidt-Rottluff developed an interest in religious themes. In Lithuania, he produced a series of nine woodcuts that were published as a portfolio by the Kurt-Wolff-Verlag in Munich in December 1918. He took the motifs primarily from the New Testament, but they do not tell a continuous story. On the contrary, the artist chose subjects that, somewhat freely interpreted, are concerned with faith, love and trust, but also betrayal. He inscribed the year 1918 on the brow of the iconically depicted head of Christ. His contemporaries regarded the strongly simplified form of the typified countenance, with its one eye wide open and the other closed, as a great provocation. Schmidt-Rottluff gave the world-weary disciple his own facial features.

About the Acquisition

From 1900 onwards, the Frankfurt chemist and industrialist Carl Hagemann (1867‒1940) assembled one of the most important private collections of modern art. It included numerous paintings, drawings, watercolours and prints, especially by members of the artist group “Die Brücke”. After Carl Hagemann died in an accident during the Second World War, the then Städel director Ernst Holzinger arranged for Hagemann’s heirs to evacuate his collection with the museum’s collection. In gratitude, the family donated almost all of the works on paper to the Städel Museum in 1948. Further donations and permanent loans as well as purchases of paintings and watercolours from the Hagemann estate helped to compensate for the losses the museum had suffered in 1937 as part of the Nazi’s “Degenerate Art” campaign. Today, the Hagemann Collection forms the core of the Städel museum’s Expressionist collection.

Work Data

Basic Information

Jünger (Original Title)
Title Translation
Disciple. From the portfolio “9 Woodcuts”
Part Number / Total
9 / 9 Holzschnitten sowie Holzschnitt-Titel und Druckvermerk
Serial Number / Edition
21 / 75
Period Produced
Object Type
Physical Description
Woodcut on laid paper
Geographic Reference
Label at the Time of Manufacture
Signiert unterhalb der Darstellung rechts (mit Bleistift): S. Rottluff
Captions Added Later
Nummeriert unten links (mit Bleistift): Sch 211; unten rechts: 1066.
Verso unten links Stempel des Städelschen Kunstinstituts, Frankfurt am Main (Lugt 2356), mit zugehöriger Inventarnummer
  • entlang des rechten Blattrandes mittig: Van Gelder Zonen [alles in Versalien und Kapitälchen]
Work Catalogues
  • Schapire H. 211
  • Zählung nach Schmidt-Rottluff 189

Property and Acquisition

Städel Museum, Frankfurt am Main
Picture Copyright
© VG Bild-Kunst, Bonn 2023
Acquired in 1948 as a donation from the heirs of the Carl Hagemann estate

Work Content

Motifs and References


  • 61B11 anonymous historical person portrayed
  • 31B62 morphology of facial expression
  • 31A221 head (human)
  • 49D43 prism ~ stereometry
  • 49D32 line (~ planimetry, geometry)
  • 73F1 community of disciples (preaching, healing, etc. in general) (Acts 2:42-47, 4:32 - 5:11)

Research and Discussion


Object History
Carl Hagemann (1867-1940), Frankfurt am Main
Nachlass Carl Hagemann, Frankfurt am Main, 1940
Schenkung der Erben an das Städelsche Kunstinstitut, Frankfurt am Main, 1948.


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.

If you have any questions or suggestions, please contact the museum at .

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