No pomp, no effects, just frugality and silent dignity. The artist is restrained, both in the number of objects he depicts and the colours he uses. Eysen seeks harmony, not contrast, and chooses similar surface structures and colours. He focuses the centre of attention on the smooth surface of the shell in shades of grey and brown. Unlike the vanitas still lifes of the Baroque era, whose pictorial motifs always involve a deeper symbolic meaning, the interest here lies in the object itself.
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 .