Renoir, like all Impressionists, was interested in motifs from everyday life. This way he could show his models in private moments: by concentrating on the book, the young lady makes eye contact impossible. This draws the viewer’s attention to the painting technique. Beyond the sculpted face, the painting is sketchy in its colour application. Above all, the background with its loosely placed brushstrokes and the dynamically flecked bouquet of flowers identify Renoir as an artist in the midst of Impressionism.
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 .
Art-technology findings and/or documentation regarding conservation and restoration are available for this work. If interested, please contact .