Art history would probably have taken a different course if the jury of the Paris Salon had not turned down this painting by Monet in 1870. This rejection was followed four years later by the first exhibition of the Impressionists, where Monet presented the work. It shows his family, a guest and a maidservant during luncheon. The liberal brushwork that Monet will apply in ‘La Grenouillère’ a few months later is not yet visible. This is a private scene from everyday life, but the nearly monumental format chosen by the artist raises its status to that of history painting.
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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Art-technology findings and/or documentation regarding conservation and restoration are available for this work. If interested, please contact .