Already at a very early stage, Roederstein was widely acclaimed as a portrait painter, whereby she also executed a variety of self-portraits. These reflect her preoccupation with her own self and her role as a female artist in the early twentieth century. In one of her last self-portraits, she once again emphasises her self-confidence and demonstrates her autonomous lifestyle. Dressed in masculine garments, she confidently stands face-to-face with the viewer. Like a lady of the house, she holds keys in her hand, although this may also be interpreted as the conclusion of her life’s work.
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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