The portrait shows Ottilie W. Roederstein’s friend and colleague Jakob Nussbaum. The brush and his palette clearly identify him as a painter. The painting is characterised by free brushwork and bright colours. In the same year, Nussbaum produced a portrait of Roederstein, in which he captured her life-size in a summer landscape; this work is also in the collection of the museum (Inv. SG 243). Roederstein and Nussbaum were active together in the Frankfurt-Cronberg artists’ association, which was influenced by painting en plain air as the French Impressionists did. They aimed at promoting it in Germany as well. This influence can be clearly felt in Roederstein’s portrait of Nussbaum. At the same time, it marks the zenith and end of her Impressionist phase, as, a short time later, the artists’ association dissolved and Roederstein adopted a more objective, two-dimensional, linear style.
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.
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