Viciously carnal or ascetically repentant? The depiction of the rueful sinner Mary Magdalene leaves room for both interpretations. Puvis de Chavannes’s portrayal of the penitent before a sparse landscape almost as an abstract, allegorical figure. Her sensuality is confined to her bare breast, framed by her long hair – a motif that is ruptured by the skull and her fixed gaze. At the time of Impressionism, the artist achieved clear compositions of classical grandeur.
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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