Böcklin, Arnold: Bildnis Fanny Janauschek, schwarze Kreide auf blauem Papier, um 1861, Inv.-Nr. HZ 3350, Hessisches Landesmuseum Darmstadt
Loved and adored – Fanny Janauschek was a star of the stage. Böcklin met the Frankfurter actress in 1861, during a guest-performance in Weimar. This is where he painted this larger-than-life portrait. It neither emphasizes her celebrated beauty, nor is it a dramatic portrait of her in character. The enigmatic mime seems reserved rather than theatrical. Böcklin succeeded in stressing the actress’s particular qualities: Being a tragedienne, she perfectly incorporates a maximum of suffering.
In 1934 there was an opportunity to purchase Arnold Böcklin's portrait of Fanny Janauschek for 27,000 marks. Swarzenski, the director of the Städel, had already been dismissed from his municipal offices because of his Jewish faith. In a special publication dedicated to the portrait, Swarzenski discussed the painterly approach to this monumental likeness. The subject was a celebrated actress in the nineteenth century, having achieved her breakthrough during her early years in Frankfurt. The purchase of Böcklin's work marked the end of the series of acquisitions by the Museums-Verein for some time. Not until 1957, almost a quarter of a century later, was the museum association able to resume its activities, which had come virtually to a standstill during the Second World War.
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”.
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