The Post-Impressionist painter Maurice Denis has committed to canvas a delicately coloured bathing scene, which nonetheless looks a little stiff and artificial. However, it is not intended to be realistic, but rather to make the artist's impression visually comprehensible. With their knotted hair and the white towels they have wrapped themselves in, the women look like goddesses. The interplay of light and shade is reproduced in light pastel hues, so that the graceful figures appear to be lost in reverie. The little girl in the centre of the painting lends the bathing scene a natural innocence.
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 .