These two small-scale drawings (Städel Museum, Inv. No. 16177, 16178) bear witness to Rohlfs’s artistic encounter with the Brücke artists’ association. That applies both to the motif of the nude moving in nature without constraint and to the mode in which he depicted the figures. He represented their bodies with a reduced palette and no more than a few lines, entirely omitting any perspectival indication of depth. What is more, they fill the pictorial field to such an extent that they almost seem to burst the bounds of the framing lines in pen and black ink.
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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