Self. Determined. the Painter Ottilie W

Self. Determined. The Painter Ottilie W. Roederstein

Edited by Alexander Eiling Eva-Maria Höllerer Sandra Gianfreda 6 Preface Contents / Kulturfonds Frankfurt RheinMain gGmbH 7 Foreword / Philipp Demandt

9 Acknowledgements

10 Roederstein: Self. Determined. / Alexander Eiling, Sandra Gianfreda, Eva-Maria Höllerer

20 Zurich, Berlin, Paris— Stepping Stones in a Female Artist’s Training / Sandra Gianfreda 8 4 The Self as Manifesto and Affirmation: 166 “From My Sketchbook”: A Look at Roederstein’s Painted Self-Portraits The Roederstein-Jughenn Archive / Barbara Rök in the Städel Museum / Iris Schmeisser 70 “On est fou ici”: Roederstein in Frankfurt am Main and Hofheim 174 Biography / Alexander Eiling / Alexander Eiling, Sandra Gianfreda, Eva-Maria Höllerer 110 B etween Tradition and Transformation: Roederstein’s Late Work Appendix / Eva-Maria Höllerer 194 Exhibition Chronology until 1938 198 Selected Archival Sources 154 Ro ederstein as Art Collector and Patron 199 Selected Literature / Sandra Gianfreda 201 Exhibited Works 204 Photo Credits 206 Colophon Preface / Kulturfonds Frankfurt RheinMain gGmbH

Ottilie W. Roederstein (1859–1937), a German-Swiss physician. Together they initiated a foundation that painter highly successful in her time, lived and worked provided both aid and incentive to people in Rhine- in Frankfurt am Main and the little town of Hofheim Main. Established in 1937, the “Ottilie W. Roederstein in the Taunus mountains for nearly forty years. This und Dr. med. Elisabeth H. Winterhalter’sche Stiftung” circumstance alone would be occasion enough for the pursued the aim of supporting painters in need as Kulturfonds Frankfurt RheinMain gGmbH to support an well as scientists of the Senckenbergische Naturfor- exhibition on her, notwithstanding the fact that she has schende Gesellschaft. It was later absorbed into the meanwhile all but faded into obscurity. Yet it was also Heussenstamm-Stiftung. Its establishment testifi es Roederstein’s exceptional career and dedication to pro- to the courage and foresight of two women who moting artists that inspired us to become involved in wanted to make life easier for later generations this project. She was an artist of international reputa- than it had been for them. That is a pursuit entirely tion and inﬂ uence who had strong ties to the Rhine- in keeping with the principles on which the Kultur- Main region and was well connected in the local society. fonds is founded. Her works were exhibited in places as far afi eld as We wish the Städel Museum every success for the Chicago, London, and Paris and received many awards. realization of this special project, and the exhibition With her partner Elisabeth H. Winterhalter, Germany’s many visitors. fi rst woman surgeon and gynecologist, Roederstein overcame prescribed gender roles in the German Em- K a r i n W o l ff pire. Both women built impressive careers for them- Geschäftsführerin, Kulturfonds Frankfurt selves, the one as an artist, the other as a scientist and RheinMain gGmbH

Sponsors of the exhibition

Supported by

With assistance of Cultural partner

6 Foreword / Philipp Demandt

In 1902, the administration of the Städelsches Kunst away from the museum, which she visited regularly, institut decided to purchase a painting by Ottilie W. taking inspiration from its collection for her own art. Roederstein—a depiction of an Old Woman Reading She had excellent connections to other local artists and (cat. 49), which, through the agency of the Frankfurter counted Frankfurt’s foremost painters—for example Kunstverein, was acquired directly from the painter in Hans Thoma, Karl von Pidoll, and Fritz Boehle—as close the year of its execution. This is by all means a note colleagues. She was also friends with many Frankfurt worthy occurrence, as the painting was the first by a families, whose members she portrayed in large num- contemporary woman artist ever to be approved for bers. They included such eloquent names as de Neuf the Städel Collection by what was, at least until then, ville, Grunelius, Merton, von Metzler, or Mumm von quite a conservative board of decision-makers. By this Schwarzenstein, all of whom—unlike the artist—are point in time, Roederstein was already a firmly estab- firmly rooted in Frankfurt’s collective memory thanks lished name in the local art world, and one whose works to the streets, schools, and districts named after them. also drew attention internationally. The trained portrait Measured against her importance to Frankfurt’s painter had settled in Frankfurt am Main in 1891, and artistic and cultural past, Roederstein has received far it was here that she lived until 1909, when she and her too little notice to date. For that reason, it is a matter life partner, the surgeon and gynecologist Elisabeth of very special concern to us to devote an exhibition to H. Winterhalter, moved to the house they had had built her at the Städel Museum with the aim of acquainting a for themselves in Hofheim am Taunus. The unconven- broader public with her work. Such an undertaking ap- tional relationship between the two professionally suc- pears all the more imperative when we take into account cessful women and their financial independence were at that the Städel has twenty-five paintings and three odds with the conservative role models of the German drawings by the artist in its possession—and thus one of Empire. Both were moreover outspoken advocates of the largest holdings of her works anywhere in the world. women’s education and were in close contact with Our partner in this endeavor is the Kunsthaus Zürich, leading representatives of the women’s emancipation which provided the initial spark for the unique project. movement. Whereas the nearby town of Hofheim at the Our transnational collaboration is very much in keeping foothills of the Taunus range has named the street in with the life and work of an artist who cultivated close front of their former home after Roederstein, Frankfurt ties to both institutions. In particular I would like to thank pays the famous painter no such tribute. On the con Sandra Gianfreda, the Kunsthaus curator, Franziska trary, the renown she enjoyed here during her lifetime Lentzsch, the head of exhibition organization in Zurich, has all but faded. In this respect, she shares the fate of and Martina Ciardelli, the project assistant there. many successful women artists who, after World War II, At the Städel, the exhibition was curated by Alexander were excluded from the canon dominated by their male Eiling, head of the Modern Art Collection, and Eva-Maria colleagues and fell increasingly into oblivion. Höllerer. They had the support of Iris Schmeisser, head It is important to point out in this context that Roe of archives and provenance research at the Städel Mu- derstein’s artistic activities were intimately interwoven seum, as well as the student assistants Anna Gehri, Alina with the history of the Städel Museum and the city of Happ, and Melanie Reichhardt. Over the past months, Frankfurt. Her studio at the Städelschule was just steps they have all worked hard to catalogue the invaluable

7 archive that passed into the possession of the Städel various contributions to the project. I would also like Museum during the preparations for the exhibition. to take this opportunity to thank all the many private It was Roederstein’s biographer and author of her collectors who have agreed to part with their works for catalogue raisonné, Hermann Jughenn (1888–1967), a lengthy period of time so as to make them accessible who gathered the material making up this archive, to the public. which his granddaughter Ingeborg Luyendyk has so The show is accompanied by this scholarly catalogue generously donated to our museum. that has many new research results to offer. I am grateful Now bearing the name the “Roederstein-Jughenn to Carsten Wolff and Dula Vukota, the graphic designers Archive in the Städel Museum,” these holdings represent at Fine German Design, for creating a highly appealing a rich fund of cultural-historical and art-historical mate- catalogue that is a joy to read and browse through. I rial whose examination has led to new scholarship and would also like to thank Hatje Cantz Verlag and its pro- provided an important basis for our exhibition project. ject heads Ute Barba and Frauke Berchtig, the translator We have meanwhile had the fortune to expand the ar- Judith Rosenthal, and the copy editors Lance Anderson chive through the addition of further letters and pho and Holger Steinemann. And with her usual aplomb, tographs from Roederstein’s and Winterhalter’s families. Eva Mongi-Vollmer managed the catalogue production My thanks go to Brita Ott, Roederstein’s great-grand- on the part of the Städel Museum. The exhibition niece, and Gerhard Wulz, Winterhalter’s great-grand- design was brilliantly conceived by Alexander Horn nephew, for their contributions in this regard. and Lukas Schmidt of Studio Tonique, office for visual In the Städel conservation studio, several paintings communication. of key importance to Roederstein’s œuvre have been This intriguing exhibition project on an artist so intri- comprehensively cleaned, conserved, and reframed. cately linked to the history of Frankfurt would not have We have Stephan Knobloch, head of conservation, and been possible without the help of dedicated sponsors. I his colleagues Eva Bader and Lilly Becker to thank for re- am therefore deeply indebted to the Kulturfonds Frank- turning these paintings to their former splendor. What furt RheinMain gGmbH for once again generously sup- is more, two of the artist’s opera magna, the Pietà and porting an undertaking of great importance to our insti- Madonna with Flowers from the Catholic Parish Church tution. I hereby extend my sincere thanks to the board of St. Peter and Paul in Hofheim, underwent conser of trustees under the chair of Prof. Dr. h. c. Klaus-Dieter vation-restoration treatment with financial help from Lehmann, the culture committee under the chair of the Annelise und Hubert Schullenberg Stiftung. I am State Secretary Ayse Asar, and the executive director especially grateful to Stefan Hauck for his personal Karin Wolff as well as her deputy Dr. Julia Cloot. dedication to this cause, as well as to the conservator I would moreover like to extend my appreciation to Susanne Silbernagel. the Friede Springer Stiftung, which likewise contributed The Roederstein specialist Barbara Rök provided to the realization of this show with its education and decisive support in the process of procuring loans visitor programs. The chair of the board of directors, for the show, and we also benefitted greatly from Dr. h. c. Friede Springer, merits our heartfelt thanks for her expert advice during the preliminary stages of the her interest in the curatorial and institutional work project. My gratitude also goes to our French colleague we undertook in connection with this special project. Éléonore Dérisson of the Fondation des Artistes in Let me also express my thanks to the Ernst Max von Paris and Nogent-sur-Marne for granting us the first Grunelius-Stiftung, represented by Dr. Günter Paul and opportunity ever to inspect the archive held there of Gerd Schmitz-Morkramer, for their ongoing dedication the Smith-Lesouëf family, whose members were to and confidence in our work. For their valued media friends of Roederstein. support and close collaboration, I would like to thank I am indebted to all of the exhibition’s lenders, first our cultural partner, the public broadcaster hr2-kultur. and foremost the Stadtmuseum Hofheim and its direc- Last but not least, my warm thanks go to the entire tor Eva Scheid, who have been staunchly devoted to Städel Museum team for all the lifeblood and enthusiasm preserving Roederstein’s memory, and who supported they poured into the realization of this exceptional show. our project with a substantial number of loans. Many I wish all of our visitors an enjoyable exhibition of the artist’s works are moreover still in the possession experience! of the descendants of Roederstein, Winterhalter, and Jughenn, to whom I would like to extend my special Philipp Demandt thanks for their willingness to impart their loans and Director, Städel Museum

8 Acknowledgements

Kunstmuseum Basel, Josef Helfenstein, Eva Reifert For their valued suggestions and commitment in sup- Federal Office of Culture, Berne, Isabelle Chassot, porting the research work and preparation that went Andreas Münch into this exhibition, our warm thanks go above all to: Kunstmuseum Bern, Nina Zimmer, Marta Dziewańska Dr. Senckenbergische Stiftung, Frankfurt am Main, Barbara Rök as well as to Maeva Abillard, Christoph Marcus Amberger Andreas, Eva Atlan, Matthias Bartsch, Diana Blome, Historisches Museum Frankfurt, Jan Gerchow, Monika Brunner, Ina Conzen, Simon Crameri, Allan Wolfgang P. Cilleßen Darwell, Éléonore Dérisson, Kathrin Frauenfelder, Kunsthandlung J. P. Schneider Jr., Frankfurt am Main, Caroline Girard, Claudine Grammont, Yves Guignard, Christoph Andreas, Max Andreas Katharina Hadding, Stefan Hauck, Andreas Heilig, Dieter Rothhahn Collection, Frankfurt am Main Max Jaeger, Jens-Holger Jensen, Silvia Koch, Stefan Pfarrei St. Peter und Paul Hofheim-Kriftel Koldehoff, Franziska Krah, Anne-Catherine Krüger, Stadtmuseum Hofheim am Taunus, Eva Scheid Markus Landert, Marianne Le Morvan, Monika Luck, Ralf Weber, Hofheim am Taunus Ingeborg and Peter Luyendyk, Ursula Marchetti, Fondation des Artistes, Paris, Laurence Maynier, Michael Mittenzwey, Monique Nonne, Brita Ott, Éléonore Dérisson Heidi Reichmuth Lagana, Marie-Claire Rodriguez, David Ragusa Thomas Rosemann, Ludwig Scheidegger, Dirk Von der Heydt-Museum Wuppertal, Roland Mönig, Schönfeld, Joachim Sieber, Susanne Silber nagel, Antje Birthälmer Peter Simons, Corinne Linda Sotzek, Fabienne Stahl, Marian Stein-Steinfeld, Baiba Vanaga, Fanny Verdier, In appreciation of their generous support, we also Samuel Vitali, Mark Wahrenburg, Susanne wish to thank all those private lenders who prefer Wartenberg, Gerhard Wulz, Horst Ziegenfusz not to be named. and Elisabeth Zürcher.

9 Roederstein Self. Determined.

/ Alexander Eiling, Sandra Gianfreda, Eva-Maria Höllerer

10 11 Fig. 1 Ottilie W. Roederstein in her studio at the Städelsches Kunstinstitut Frankfurt am Main, ca. 1894, photograph, Roederstein- Jughenn Archive in the Städel Museum

he Kunsthaus Zürich and the Städel Museum have joined hands to devote an exhibition to an artist who had close ties to both institutions: Ottilie W. Roederstein (1859–1937; fig. 1). Born in Zurich to German parents, she trained as an artist first Tin her native city, then Berlin and Paris, before moving to Frankfurt am Main in 1891. In 1909, she settled in the rural town of Hofheim am Taunus, where she would remain for the rest of her life. In both Germany and Switzerland, she was a firmly established name in the world of art and culture, and one of the most sought-after portraitists of her time. She presented her works in numerous national and international exhibitions taking place not only in cities such as Zurich, Paris, and Frankfurt, but also as far afield as London and Chicago. In 1912 she was the only woman artist to represent Switzerland in the Cologne edition of the seminal Sonderbund show, the Internationale Kunstausstellung des Son- derbundes, alongside her male compatriots Ferdinand Hodler, Giovanni Giacometti, and Cuno Amiet. Through her purchases for her own art collection and her involvement in the organization of exhibitions, she moreover fostered French and Swiss modern art and helped its broader recognition.¹ In 1938, memorial exhibitions were staged in Frankfurt (fig. p. 191), Zurich, and Bern to commemorate Roeder stein’s artistic legacy and her untiring efforts to strengthen the ties between Switzerland and Germany.² Owing to the upheavals of World War II and the postwar art world’s general focus on abstract painting, Roederstein’s work fell into oblivion. With one exception, her name is sought in vain in the pertinent dictionaries of women artists.³ An initial step toward her rediscovery was the exhibition mounted in Hofheim in 1980, the first since her death to present the artist’s œuvre in all its breadth.⁴ It took the dissertation of Barbara Rök, however, to launch the systematic scholarly reappraisal of Roederstein’s art. Thanks to the second exhibition, held in Hofheim in 1999 and based on Rök’s scholarship, the artist started being more widely appreciated again.⁵ More recently, Frankfurt’s Museum Giersch devoted a group exhibition to Roederstein, Emy Roeder, and Maria von Heider-Schweinitz.⁶ A recent biographical publication put out by the Heussen- stamm-Stiftung in 2018 pays tribute to Roederstein and her partner Elisabeth H. Winter- halter (1856–1952; fig. 2).⁷ Since then, the artist’s works have so far made their way into

12 Fig. 2 Ottilie W. Roederstein and Elisabeth H. Winterhalter ca. 1886, photograph, Roederstein-Jughenn Archive in the Städel Museum

Fig. 3 Ottilie W. Roederstein with Carli and Hermann Jughenn Hofheim am Taunus, ca. 1933, photograph, Roederstein- Jughenn Archive in the Städel Museum thematic shows at most, for example an exhibition on women’s suffrage at the Histor- isches Museum Frankfurt and one on the art of the nineteen-twenties at the Bucerius Kunstforum Hamburg, both in 2019.⁸ In Switzerland Roederstein had fallen even more into obscurity. This is the first diverse presentation of her art there in more than eighty years. In addition to the major retrospective at the Kunsthaus Zürich, an exhibition on female pioneers in Swiss art taking place in St. Gallen from August 2020 to January 2021 features a small group of works by the painter.⁹ Thanks to these initiatives and an upswing in interest in issues of gender and its historical dimensions, Roederstein is gradually returning to the public consciousness on a broader scale. With our exhibition, we have thus undertaken to pay due homage to her impressive career and present her in the context of her time. This endeavor has not only had the above-mentioned earlier research to draw on, but also the recent in-depth review of the estate of Roederstein’s biographer Hermann Jughenn (1888–1967; fig. 3), who devoted his life to drawing up a catalogue raisonné of, and amassing an archive on, the artist’s work and life. In collaboration with Winterhalter, Jughenn kept the memory of Roederstein alive in his native Hofheim am Taunus for many years. Apart from set- ting up a memorial to the artist in her former studio building (fig. 4), he gave several

13 slide lectures providing insights into her art, and, over a period of nearly two decades, traced the whereabouts and owners of her paintings and drawings. The Roederstein-Jughenn Archive, which encompasses numerous important sources on the artist’s life and work, is the fruit of his tireless dedication. Thanks to the generous gift from his granddaughter, Ingeborg Luyendyk, the archive has been housed at the Städel Museum since 2019. Since then it has grown through the donation of hitherto unpublished documents formerly belonging to Roederstein’s great- grandniece, Brita Ott, and Winter- halter’s great-grandnephew, Gerhard Wulz. An examination of the Roederstein correspondence in the Hanna Bekker vom Rath Archive assembled by Marian Stein-Steinfeld in Frankfurt led to further important findings. The evaluation of this archival treasure trove pointed the way to new approaches in the study of Roederstein’s biography and œuvre: particularly the correspondence in the Roederstein-Jughenn Archive reveals her as an untiring networker who cultivated contacts with numerous notables in the European art world. Her surviving letters encompass correspondence with close confidants such as Anna Edinger and her daughter Tilly, Heinrich and Paula Häberlin, as well as artists such as Cuno Amiet, Carolus-Duran, Jean-Jacques Henner, Fig. 4 Dora Hitz, Alexej von Jawlensky, Ludwig Meidner, Sigismund Righini, and Annie Stebler- Elisabeth H. Winterhalter Hopf, to name just a few. They also document Roederstein’s copious contacts to influ- in Ottilie W. Roederstein’s ential Frankfurt families from the realm of industry and politics, whose members she former studio portrayed in large numbers.¹⁰ after her death Furthermore, the opportunity to examine for the first time ever the archives of the 1937, photograph, family Smith-Lesouëf in Paris and Nogent-sur-Marne has brought valuable new insights Roederstein-Jughenn Archive in the Städel Museum to light.¹¹ Roederstein cultivated lifelong friendships with the sisters Jeanne Smith and Madeleine Smith-Champion (fig. 5), whom she met during her art-student years in Paris. In addition to extensive, hitherto unpublished Roederstein correspondence, the Smith- Lesouëf holdings also include an abundance of enlightening photographs. We have the fact that Jeanne Smith was active as an amateur photographer to thank for this further valuable source.¹² In her early years, Roederstein’s style was influenced above all by French academic painting, examples of which were on view in great numbers at the Paris Salons. She targeted the art market with her work and tailored her portraits and still lifes to her customers’ wishes. Yet she also pursued her artistic interests independently of such considerations, and even early in her career deliberately ventured beyond the thematic territory usually deemed fitting of women artists by painting religious scenes and even nudes.¹³ Around 1893, inspired by her intense preoccupation with the art of the Italian and German Renaissance, she began working in tempera, which she used to endow her paintings with a decidedly graphic appearance. After 1900 she also experimented with stylistic devices of Impressionism, Symbolism, and, later, New Objectivity, never aban- doning her own individual painterly idiom in the process.¹⁴ In her ongoing experimentation with new styles and painting techniques, self-depiction played an important role for Roederstein.¹⁵ A genre she pursued in various mediums throughout her career, the self-portrait served her as a form of self-interrogation and offered her a means of staking out her personal artistic position. She usually staged herself with folded arms, an aloof gaze, and a rather masculine pose, thus conveying the image of an experienced artist who had earned respect and success for herself and demanded to be taken seriously (cat. 21). This is a mode of depiction also mirrored in

14 the photographic portraits of her (fig. 6). The latter have come down to us in large numbers in the Roederstein-Jughenn Archive and, alongside the painted portraits, offer a further fascinating perspective on the artist’s strategies of self-representation. As we know from the exhibition reviews of the time, Roederstein’s contemporaries perceived her as a creative artist—a characterization to which previously only her male colleagues could lay claim. Whereas one author, for example, described her as “a female artist with male talent,” another detected “the most masculine talent in this brush Fig. 5 of a woman.”¹⁶ These remarks shed light on the difficulties experienced by women art- Madeleine Smith- ists of the period around 1900 in their efforts to carve out and defend a place of their Champion, Ottilie W. Roederstein and own in the male-dominated world of art. In painting, as elsewhere, women were forced Jeanne Smith (seated) into a purely ‘reproductive’ role: they were accepted as dilettantes and copyists, but not ca. 1889, photograph, as as free and self-determined artists with ingenuity of their own.¹⁷ With her work, by Roederstein-Jughenn Archive contrast, Roederstein attained a level of freedom and independence many of her fe- in the Städel Museum male contemporaries hardly dared to dream of. Nevertheless, her successful career would not have been possible without her partner Elisabeth H. Winterhalter, a gynecologist, Germany’s first woman surgeon¹⁸—and Roederstein’s mainstay. Both women defied the rigid gender constraints of the late nineteenth century, getting an education for themselves and establishing themselves in professions previously re- served in large part for men. What is more, Roederstein and Winterhalter never forgot the difficulties and obstacles that had shaped their own biographies, and both went on to champion improvements in the education of girls and women in the German Empire. In her studio at the Städelsche Kunstschule, Roederstein set up a painting school in which she gave instruction to young women. Winterhalter, meanwhile, was outspoken in her advocacy of secondary-school courses for girls that would enable them to qualify for higher education. The two partners thus represented a new generation of women who, around the turn of the century, built professional careers for themselves against all the odds and made a confident display of the social status attained through their labor. Many of Roeder- stein’s portraits of her partner show her as an established physician in a self-assured pose, often accompanied by the inscription “Dr. med. E. H. Winterhalter” as a demonstrative further reminder of her earned status (cat. 1). Paintings and drawings by Roederstein already entered the collections of the Kunst- haus Zürich and the Städel Museum during her lifetime. The portrait of Pastor Bion (cat. 3) exhibited by the artist at the Salon de la Société des artistes français in the spring of 1887 was the first of her works to come into the possession of the Zürcher Künstlergesellschaft, which received it as a donation the same year. It was ten years later that the same association, now called the Zürcher Kunstgesellschaft, first actively purchased works from Roederstein: Engaged Couple (cat. 40) and The Orphan (cat. 39). Today the Kunsthaus Zürich’s Roederstein holdings comprise two drawings and twelve paintings, including the Still Life with Painting Utensils (cat. 82), formerly in the important collection of Theodor and Anna Elisabeth Wolfensperger and purchased at auction in late 2019.¹⁹ Between 1887 and 1934—that is, during the artist’s lifetime—the Künstlerhaus (from 1910 onward Kunsthaus) Zürich presented Roederstein’s works on some fifteen occasions, of which the exhibitions of 1897, 1903, 1914, 1925, and 1934 included the largest number of her works. The Kunsthaus Zürich accorded her a very

15 Fig. 6 Ottilie W. Roederstein ca. 1910, photograph, Roederstein-Jughenn Archive in the Städel Museum

Cat. 1 E. H. Winterhalter, M.D. 1927 Tempera on canvas, 75.5 × 55.5 cm Property of the Dr. Senckenbergische Stiftung, Frankfurt am Main

special honor in conjunction with the opening of its new building in 1910, when she was the only woman among the Swiss artists invited to exhibit in the accompanying show. Roederstein moreover supported the Zurich institution with loans and donations of works from her private art collection.²⁰ She maintained close ties to the Kunsthaus Zürich all her life, above all by way of her friendship with her onetime pupil Sigismund Righini (1870–1937). He had already taken art lessons with Roederstein in 1888, when he was still a Gymnasium student and she had just returned from Paris. After his gradua- tion, he set out for the French capital on her advice to become an artist himself. Righini was a member of the Zürcher Kunstgesellschaft’s exhibition committee from 1899 and, from 1910, of the newly founded hanging committee of the Kunsthaus Zürich.²¹ Roederstein also cultivated close contacts with the Städelsches Kunstinstitut in Frankfurt, forged not least by her tenancy of a studio in the neighboring Städelschule. Old Woman Reading (cat. 49) was the first painting by a contemporary woman artist to enter the museum’s collection by way of purchase. During the years of Georg Swarzen- ski’s directorship, Roederstein succeeded in selling four further paintings to the Städ- tische Galerie.²² In this context, her personal acquaintance with the director—whose portrait she painted as far back as 1907, shortly after his arrival in Frankfurt—may have worked in her favor. In 1916, Swarzenski married Marie Mössinger, a onetime pupil of Roederstein. Eleven years later, drawing on funds designated for the promotion of painting in Frankfurt, he purchased the Portrait of a Painter in a Parisian Studio (cat. 11) on the art market.²³ What is more, a substantial group of Roederstein works eventually entered the museum’s holdings as a bequest from her life partner. In 1939, from the works that had remained in the artist’s studio in Hofheim, then Städel director Ernst Holzinger selected those that were to pass into the museum’s possession after Winterhalter’s death. Eleven of these paintings and one drawing were already entrusted to the Städel’s care in 1944 in order to be moved to external storage along with the rest of the museum’s holdings for safekeeping during the war. These works included the portraits of Helene Roederstein (cat. 12), Dr. Elisabeth Winterhalter, and Alexej von Jawlensky (cat. 75). Roederstein’s Self-Portrait with Cape was also among those

16 17 selected for the Städel.²⁴ However, as the artist herself had designated it for the Kunsthaus Zürich, it was ultimately exchanged for the Self-Portrait with Keys (cat. 27) at her partner’s request.²⁵ Winterhalter later added a further four works to her Städel bequest: the paintings The Sisters (cat. 43), Still Life with Pears and Casserole (cat. 48), and Portrait of Dr. Elisabeth Winterhalter (cat. 13), and a portrait drawing of Count - ess Gabriele von Wartensleben, a friend and fellow campaigner for women’s rights.²⁶ Winterhalter moreover left works from Roederstein’s art collection to the Städel- sches Kunstinstitut. With great foresight, she had already arranged for the works by the French artists Henri Fantin-Latour (cat. 88) and Odilon Redon (cat. 97) to be deposited with the Städel in 1942 and 1944 to protect them from war-related damage or loss.²⁷ Apart from those in Winterhalter’s bequest, there were only isolated accessions of Roederstein’s art to the Städel from private holdings in the postwar period. It was not until 2018 that, after a long hiatus, another work of hers was finally purchased, the Self-Portrait with Motorists’ Cap (cat. 24). Today the Städel Museum has altogether twenty-five paintings and three drawings by the artist in its possession, acquired between 1902 and 2018 and divided among the two parts of the collection: the Städelsches Kunstinstitut and the Städtische Galerie. The Roederstein holdings in Frankfurt and Zurich are thus quite extensive in number, but this alone has not always guaranteed her presence in their collection presentations. In postwar Switzerland and Germany alike, her works were increasingly consigned to storage in favor of those by her male colleagues. At the Städel, her paintings are meanwhile on display alongside those by her contemporaries Otto Scholderer, Hans Thoma, Karl von Pidoll, and Otto Dix, as well as Lotte Laserstein and Helene Schjerfbeck. At the Kunsthaus Zürich, for reasons of space, they have hitherto appeared only sporadically in thematic presentations of the holdings. In these juxtapositions, Roederstein proves herself to be an artist who, over a period of many decades, remained on an equal foot- ing with the best painters of her time. Her œuvre has always occupied a place of its own and exhibited a distinctive and striking idiom, even though, throughout its shifting stylistic phases, it maintained a distance from the artistic avant-garde. As a painter compelled to earn her living with her art, and thus to find a clientele for it, she adopted modern trends only after they had become firmly established, were in demand on the art market, and promised to sell. This approach in no way detracts from the quality of her works, which were highly appreciated during her lifetime and once again enjoy growing popularity today.

18 1 See the contribution by Sandra Gianfreda in 10 See the contribution by Iris Schmeisser in this Extensive correspondence between OWR and this publication, pp. 154–165. publication, pp. 166–173. Righini has come down to us in the Roeder- 2 Gedächtnis-Ausstellung O. W. Roederstein, exh. 11 Bibliothèque nationale de France, Manuscrits, stein-Jughenn Archive and the Zürcher Kunst- cat. Frankfurter Kunstverein (Frankfurt am Archives de la famille Smith-Lesouëf (NAF gesellschaft/Kunsthaus Zürich Archive. Main, 1938); Marianne von Werefkin 1860–1938, 28416), Lettres reçues par Madeleine Smith, 22 The works in question are Self-Portrait with Ottilie W. Roederstein 1859–1937, Hans Brühl- vol. VIII and vol. IX; Archives des Nogent/ Hat (acquired in 1910, inv. no. SG 134; cat. 22), mann 1878–1911, exh. cat. Kunsthaus (Zurich, Marne—Fondation des Artistes. Portrait of the Painter Jakob Nussbaum (ac- 1938); Ottilie W. Roederstein, Marianne von 12 The many prints of her photos sent directly quired in 1910, inv. no. SG 135; cat. 51), Still Life: Werefkin, Raoul Domenjoz, Albert Locca, to Roederstein are today in the holdings of Basket with Fruit on a Table in front of a Curtain exh. cat. Kunsthalle (Bern, 1938). the Roederstein-Jughenn Archive in the Städel and Wallpaper (acquired in 1910, inv. no. SG 3 Chris Petteys, Dictionary of Women Artists: Museum, Frankfurt am Main (in the following 136; Rök 1999 [see note 5], cat. rais. no. 803), An International Dictionary of Women Artists abbreviated as “Roederstein-Jughenn Archive”). and Self-Portrait with Folded Arms (acquired in 1929 with funds from the Frankfurter Künstler- Born before 1900 (Boston, 1985); Delia Gaze, 13 See the contribution by Sandra Gianfreda hilfe, inv. no. SG 459; cat. 21). The Städtische ed., Dictionary of Women Artists, 2 vols. in this publication, pp. 20–35, here pp. 29–31. (London and Chicago, 1997); Jochen Schmidt- Galerie purchased the paintings primarily with 14 See the contributions by Alexander Eiling, Liebich, Lexikon der Künstlerinnen 1700–1900: funds from the Pfungst-Stiftung designated for pp. 70–87, and Eva-Maria Höllerer, pp. 110–129, Deutschland, Österreich, Schweiz (Munich, the purchase of “high-quality works by living in this publication. 2005). The exception is a dictionary focusing artists.” primarily on women artists active in Berlin: 15 See the contribution by Barbara Rök in this 23 These holdings were expanded through dona- Verein der Berliner Künstlerinnen e. V., ed., publication, pp. 48–59. tions from persons in Roederstein’s social Käthe, Paula und der ganze Rest: Ein Nach- 16 Arsène Alexandre, “À travers les salles de la circle: Portrait of the Concert Singer and Con- schlagewerk (Berlin, 1992), pp. 139–40. Société nationale,” Le Figaro, April 30, 1889, ductor Prof. Julius Stockhausen (1911 as a gift 4 Ottilie W. Roederstein (1859−1937): Eine Malerin p. 4 (“une artiste au talent viril”); there is no from the heirs, inv. no. SG 231; Rök 1999 [see in Hofheim, exh. cat. Rathaus und Haindlhof, information on the source of the second quo- note 5], cat. rais. no. 875), The Victor (1929 edited by Hermann Haindl on behalf of the mu- tation; see Roederstein-Jughenn Archive, call as a gift from Amalie Bonn-Schuster; cat. 45). nicipal administration of the city of Hofheim no. OR 115, Album mémorial (“nous trouvons 24 Rök 1999 (see note 5), cat. rais. no. 1725. le plus viril des talents dans ce pinceau de am Taunus and the Kunstverein Hofheim e.V. 25 The Zürcher Kunstgesellschaft evidently femme”). For a comparison of women artists (Hofheim, 1980). rejected the offer made in 1963 by the subse- with masculine characteristics, see Rachel 5 Barbara Rök, Ottilie W. Roederstein (1859– quent owner to donate the Self-Portrait with Mader, Beruf Künstlerin: Strategien, Kons- 1937)—Eine Künstlerin zwischen Tradition und Cape, also known as Self-Portrait with Mantle; truktionen und Kategorien am Beispiel Paris Moderne: Monographie und Werkverzeichnis, see the comment in Rök 1999 (see note 5), cat. 1870–1900, Ph.D., Universität Bern, 2006 Ph.D. diss. (Philipps-Universität Marburg, 1997), rais. no. 1725. The occurrence, however, is not (Berlin, 2009), pp. 80–89. edited by Eva Scheid and published on behalf documented in the minutes of the Zürcher of the municipal administration of the city of 17 On the female copyists in the Louvre, see Kunstgesellschaft collection committee meet- Hofheim am Taunus—Stadtmu seum/Stadtar- Alexander Eiling, “‘Le Louvre est le livre où ings. The following works were also entrusted chiv on the occasion of the exhibition of the nous apprenons à lire’: Das Kopieren im Louvre to the care of the Städel in 1944: Portrait of same name (Marburg, 1999). in der französischen Kunst des 19. Jahrhun- the Artist’s Father (inv. no. 2036; Rök 1999 derts,” in Ariane Mensger et al., eds., Déjà-vu? 6 Idem, “Die bedeutende Individualität unter [see note 5], cat. rais. no. 117), Still Life with Die Kunst der Wiederholung von Dürer bis den weiblichen Malern in Frankfurt: Ottilie W. Sunflower Heads (inv. no. 2039; ibid., cat. rais. YouTube, exh. cat. Staatliche Kunsthalle Roederstein und ihr Weg in die Unabhängig- no. 1679), Still Life with Brown Sunflowers Karlsruhe (Bielefeld, 2012), pp. 96–107, keit,” in Susanne Wartenberg and Birgit Sander, (inv. no. 2040; ibid., cat. rais. no. 1730), Still Life here pp. 99–100. eds., Künstlerin sein! Ottilie W. Roederstein, with Cedar Branch (inv. no. 2041; ibid., cat. rais. Emy Roeder, Maria von Heider-Schweinitz, 18 Elisabeth H. Winterhalter, “Elisabeth H. no. 1728), Still Life with Green Apples in a Basket exh. cat. Museum Giersch, Frankfurt am Main Winterhalter,” in Elga Kern, ed., Führende (inv. no. 2043; ibid., cat. rais. no. 1760), Still Life (Petersberg, 2013), pp. 9–19. Frauen Europas, Neue Folge (Munich, 1933), with Tomatoes in a Basket (inv. no. 2042; ibid., pp. 30–36; Görner 2018 (see note 7); Bianca cat. rais. no. 1761), Still Life with Zinnias in a 7 Karin Görner, Ottilie W. Roederstein und Walther, “Die Ärztin, der die Frauenbewegung Vase (inv. no. 2044; ibid., cat. rais. no. 1759). Elisabeth Winterhalter: Frankfurter Jahre vertraute: Dr. med. Elisabeth Winterhalter 1891–1909, Heussenstamm Stiftung 26 Portrait of Countess Gabriele von Wartens- (1856–1952),” https://biancawalther.de/elis- (Frankfurt am Main, 2018). leben, 1937, black chalk, heightened in white abeth-winterhalter/ (accessed July 22, 2020). on bluish paper, 50.3 × 38.3 cm, Städel Museum, 8 Dorothee Linnemann, ed., Damenwahl! 100 19 Apart from the works cited in this publication, Department of Prints and Drawings, Frankfurt Jahre Frauenwahlrecht, exh. cat. Historisches the following work is also in the holdings of am Main, inv. no. 1634. Museum (Frankfurt am Main, 2019) (Schriften the Kunsthaus Zürich: Roses (Leonie Scheller- des Historischen Museums Frankfurt am Main, 27 According to Winterhalter’s will, a bronze by Kuhn Bequest, 1942, inv. no. 2953; cat. rais. vol. 36); Kathrin Baumstark et al., eds., Welt Milly Steger from Roederstein’s art collection no. 740). im Umbruch: Kunst der 20er Jahre, exh. cat. also later entered the Städel Collection. How- Bucerius Kunst Forum, Hamburg and Münch- 20 See the contribution by Sandra Gianfreda in ever, it has not yet been possible to identify ner Stadtmuseum (Munich, 2019). this publication, pp. 154–165, here pp. 158f. this work in the holdings; see Testament Winterhalters, May 21, 1949, Roederstein- 9 Daniel Studer, ed., Berufswunsch Malerin! Elf 21 See most recently: Stiftung Righini-Fries Zurich Jughenn Archive, call no. 77. Wegbereiterinnen der Schweizer Kunst aus 100 and Sascha Renner, eds., Sigismund Righini, Jahren, exh. cat. Historisches und Völkerkun- Willy Fries, Hanny Fries: Eine Künstlerdynastie demuseum, St. Gallen (Schwellbrunn, 2020). in Zürich 1870–2009 (Zurich, 2018), esp. part I.

19 Zurich, Berlin, Paris Stepping Stones in a Female Artist’s Training

/ Sandra Gianfreda

20 21 Fig. 1 Karl Gussow Mrs. Hedwig Woworsky, née Heckmann 1878, oil on wood, 138.5 × 98 cm, Staatliche Museen zu Berlin, Nationalgalerie

ike most of her fellow women painters, Ottilie W. Roederstein could not plan her artistic training strategically. Emerging women artists of the nineteenth century had to rely on the goodwill of their guardians. Their male contemporaries had an Leasier time, because for them it was common practice to take up professional activities and the occupation of painter was a socially accepted one. To the extent allowed by their talent and financial means, they could therefore choose their places of learning in a more targeted fashion. The first two stages of Roederstein’s training—Zurich and Berlin— were accordingly decided by her personal circumstances and her gender. In retrospect, Roederstein attributed her desire to become a painter to sittings in the studio of the Swiss artist Eduard Pfyffer (1836–99), who in 1868/69 painted the likenesses of the Roederstein family in Zurich.¹ The portrait and genre painter had attended the Grossherzogliche Kunstschule (grand-ducal art school) in Karlsruhe and, after taking the classical tour of Italy to refine his skills, settled in Zurich in 1867. There, in addition to pursuing his own artistic activities, he taught drawing.² For the Roedersteins, a mercantile family, it was initially unthinkable that one of their three daughters should become a painter—a profession whose practice by women was still subject to strong biases.³ On the part of Roederstein’s parents, the choice of Pfyffer as teacher will therefore presumably have been a compromise that offered a means of keeping their daughter under a watchful gaze.⁴ Training opportunities for artists in nineteenth-century Switzerland were sparse as it was. Unlike its neighbors, the country had no public art academy run under the auspices of the state. An artist today considered insignificant, Pfyffer must have enjoyed a certain local reputation at the time and been known for his

22 pupils’ studio on Promenadengasse, which also welcomed young women through its doors.⁵ Along with Roederstein, who began her training under him at the age of seventeen, Louise Catherine Breslau, Marie Sommerhoff(-Bertuch), and Amalie Trüm- pler(-Jones) also took drawing and painting instruction there. Roederstein is known to have still been in contact with Breslau and Sommerhoff years later. Shortly after beginning her training in 1876, Breslau set off for Paris to make a career for herself. Even at this early stage, the young Ottilie cherished the hope of someday continuing her studies in the French art capital herself.⁶ In addition to drawing, she also learned the art of painting in oils during this initial phase of her instruction, from which only very few works are documented. Apart from two still lifes, the majority of them are portraits of members of the family circle.

Berlin—A Further Compromise

When Roederstein’s older sister Johanna married the businessman Ernst Voos of Elber- feld in late September 1879 and moved to Berlin with him, new prospects opened up for the budding artist. In the last quarter of the nineteenth century, the imperial capital of the German Reich was not yet the melting pot of artists that it would become after 1900. What is more, like art academies elsewhere, the Prussian academy, or Königlich Preussische Akademie der Künste to give it its full name, did not admit women to its official instruction. An association of women artists and art admirers of Berlin had, however, been founded as far back as 1867 and opened an art school the following year. Women usually trained as drawing teachers there or dabbled in art as an activity considered befitting for young ladies of the bourgeoisie before giving their hand in marriage. They also had the option of studying decorative arts, for example at the Königliche Kunstschule (royal art school).⁷ Those with professional ambitions in the field of painting usually had no choice but to enroll at one of the private art schools, whose tuition fees, however, were expensive. The most suitable genre for guaranteeing a livelihood to unmarried, artistically active women was portraiture. Thus it is hardly surprising that Roederstein now continued her studies with the portrait painter Karl Gussow (1843–1907), who enjoyed a certain amount of esteem at the time (fig. 1).⁸ When he received his appointment as professor at the Königlich Preussische Akademie der Künste in 1875, he imposed the condition that, in Fig. 2 addition to the official academy studio, he would also have a free studio at his disposal— Ottilie W. Roederstein that is, one he was free to use as he liked—as a workroom in which to impart his knowl- Portrait of a Woman edge beyond the scope of the official teaching program. In some phases, as many as sixty 1881, oil on painting cardboard, pupils were evidently enrolled in his ladies’ studio at a time. They included, for example, 47 × 34.5 cm, private collection, Frankfurt am Main Clara von Rappard (intermittently 1875–85) and Sabine Lepsius (1884–86). The standards inevitably varied substantially, especially since there were no admission restrictions and the women’s aspirations differed. Professionalism and dilettantism existed side by side— not a happy circumstance for women like Roederstein, who nurtured serious professional ambitions. During his daily five-and-a-half-hour instruction sessions, Gussow taught his pupils the skills required for advanced portrait and figure painting. In addition to hand and hair studies and working from models, the women also learned to model light and shade. Starting in 1876, Gussow also offered nude drawing, a field long taboo for women—and not just on moral grounds: there was an underlying motive to this restric- tion, as it precluded women’s from the highest-ranking genre: history painting.⁹ Only a few works from Roederstein’s three-year Berlin period are known (fig. 2), again primarily portraits of family members. As a result, it is not possible to determine what exactly she learned from Gussow. In her autobiographical text of 1928, she wrote

23 Fig. 3 Carolus-Duran The Lady with the Glove 1869, oil on canvas, 228 × 164 cm, Musée d’Orsay, Paris

that she had worked hard in Berlin and, under his direction, “made good progress within the bounds of his artistic orientation.”¹⁰ The most notable work from these years, which has survived only as a reference in the artist’s catalogue raisonné, was a drawing of a striding male nude. According to Hermann Jughenn, Roederstein’s first biographer, she executed it in 1882 in the studio of the painter Karl Stauffer-Bern. Himself active in Berlin since 1880, the Swiss Stauffer-Bern had presumably offered to instruct Roeder- stein, but by this time she already had a different goal in mind. The young native of Zurich had made friends with Annie Hopf (1861–1918, later Stebler-Hopf), likewise a Swiss and a fellow pupil in Gussow’s ladies’ class (fig. p. 178). When the two women voiced their intention to go to Paris together to complete their study of painting, Roederstein’s parents no longer objected.¹¹ At the time, completion of training in Paris and the opportunity to exhibit there at the prestigious Salon still represented the crowning moment of every study of art, as well as a stepping stone for an international career.

Paris—Enfin!

Roederstein and her friend Annie Hopf arrived in Paris in the late autumn of 1882. At the time, the city—having undergone substantial changes in its urban layout under the emperor Napoleon III and his prefect Georges-Eugène Haussmann—was the art capital of the world. The latest artistic innovations had come to fame there, from the plein air painting of the Barbizon School and the realism of Gustave Courbet to Édouard Manet’s depictions of modern life and Impressionism. Paris was home to the internationally renowned Salon exhibitions and a flourishing art market. In the second half of the nineteenth century, the number of artists, men and women alike, who made their way to the French capital rose at an accordingly rapid rate. In addition, the city offered far more

24 training opportunities for women than other places, even if they would have to wait until 1897 before being admitted to the state École des beaux-arts. To provide male art students a means of preparing for the École’s rigorous en trance examination, many eminent artists had opened private painting studios. Several of them offered separate classes for ladies— a lucrative business for the masters, as the female pupils had to pay substantially higher tuition fees than their male counterparts.¹² Owing to the freedom of movement they enjoyed in the French metropolis, however, many women perceived a stay there as a true liberation from social constraints, despite such financial injustices. Apart from the two most well-known private academies—the Académie Julian (founded in 1868) and the Académie Colarossi (found- Fig. 4 ed in 1870)—Charles Chaplin, Léon Cogniet, Thomas Couture, Charles Auguste Émile Jean-Jacques Henner Durand (called Carolus-Duran), and Ange Tissier also offered instruction for women in Saint Jerome their studios.¹³ The course of studies at the Académie Julian, for example, was based on ca. 1881, oil on canvas, that of the École des beaux-arts, with its emphasis on drawing after prints, plaster casts 140.5 × 200 cm, Musée des Beaux-Arts, Valenciennes of classical sculptures, and the live model.¹⁴ It also encompassed nude drawing, which for many women was the decisive motive for studying at the free academy, as this genre represented one of the fundamental requirements for professional training as a painter. Pupils were not introduced to painting until they had mastered the art of drawing. Annie Hopf enrolled at Julian, Roederstein decided in favor of the “Atelier des dames” led by Carolus-Duran (1837–1917) and Jean-Jacques Henner (1829–1905; figs. p. 177). After more than six years of training in Zurich and Berlin, her aim was not to begin the study of art from the ground up. What she wanted, rather, was to refine her painting skills, primarily in portraiture, and expand her repertoire in figure painting. At the time, Carolus-Duran and Henner were distinguished painters who did not adhere rigorously to academic tenets, nor were they overly avant-gardist in their approach.¹⁵ Roederstein, who herself felt obliged to artistic tradition but nevertheless wanted to partake of the developments in contemporary art, must therefore have considered herself in good hands with these two masters. Carolus-Duran had initially called attention to himself with a portrait of his young wife, The Lady with the Glove (fig. 3), which had been awarded a prize at the Salon of 1869. In the years that followed, he advanced to become a sought-after painter of modern Parisian femininity, capable of lending his depictions of women a quality between reality and ideal. Henner, an artist eight years his senior, was likewise known for his portrait art. At the Salon, however, he presented not only likenesses, but above all allegorical female nudes, religious figures (fig. 4), and timeless arcadian landscapes peopled with nymphs and naiads. Over the years he had developed an idiosyncratic painting style in which he blurred the paints so finely as to lend the contours a soft, fuzzy character. Both artists moreover admired the Old Masters—Carolus-Duran especially Diego Velázquez, Henner primarily Hans Holbein the Younger. This fondness will only have reinforced Roederstein’s decision in favor of their studio.¹⁶ The two French artists had made each other’s acquaintance in Italy in the early eighteen-sixties. At the time, both were living in Rome on several-year grants.¹⁷ In 1872, now in Paris, Carolus-Duran opened a painting school in his studio at 11 Passage Stanis- las (the present-day Rue Jules Chaplain) in Montparnasse. One of the studio’s two en- trances was at 58 Rue Notre-Dame-des-Champs—the very street on which Roederstein

25 later took up living and working quarters. Initially, the school was open only to men. Around 1874, Carolus-Duran brought in Henner to set up a class for ladies. The two masters went to the studio alternatingly on Tuesdays and Fridays for critique hour, although it must be added that, according to the entries in his datebook, Henner appeared there in person only very irregularly, depending on the year. This meant that, when Carolus-Duran was not present, the budding women artists were on their own. In 1877, the “Atelier des dames” moved to 17 Quai Voltaire, where Roederstein would spend her mornings from late 1882 to the spring of 1887.¹⁸ Thanks to the entries in the salon catalogues of subsequent years, the names of some 150 of the studio’s female pupils are known to us today. To date, only Louise Abbéma, Fanny Fleury, Elizabeth Nourse, Marie Petiet, and Juana Romani have been subjects of more in-depth scholarly investigation. The women paid 100 francs in tuition per month for the instruction, which took place only in the morning, plus 10 francs admission fee. Meanwhile, pupils of the Académie Julian paid 40 francs less for morning instruction if they enrolled for one month.¹⁹ Carolus-Duran evidently advised his pupils—of whom the majority came from the United States—to employ brush and paint from the start to capture their pictorial subjects and lend them a certain vivacity. He also encouraged individual expressiveness, as he regarded art to be not mere imitation but subjective interpretation, in which context he invoked the Old Masters. This approach distinguished him from most other art pro- fessors, whose instruction concentrated primarily on the mastery of draftsmanship and, in the tradition of the school of Ingres, close attention to detail in rendering the visible world.²⁰ Little is known about Henner’s teaching methods. In 1881, the American artist Phoebe D. Natt reported that he taught his pupils how to blend the different tones of paint with oblique brushstrokes carried out consistently in the same direction.²¹ The only known photograph of a ladies’ class (fig. 5) hitherto associated with Henner (because it is in the Roederstein-Jughenn Archive) must be newly interpreted, as it shows Madeleine Smith at the right edge. Our Swiss artist’s young French pupil was introduced to Henner by Roederstein herself in 1890 and, moreover, began modeling for him in 1892 at the latest.²² The photograph must accordingly date from 1890 or later. Henner, how ever, had resigned from his engagement as an art professor in the “Atelier des dames” in 1889. What is more, other photos taken around 1890 show him as an elderly gentleman with white hair and a white beard. The art professor photographed with his female pupils gathered around him as they work from a nude model, on the other hand, is quite clearly middle-aged. Around 1891, Smith also took instruction from Raphaël Collin (1850–1916), an artist about twenty years Henner’s junior. Based on the caption of a photograph of 1892 that has recently turned up on the art market and shows the same art professor as well as Madeleine Smith, it is possible to identify the studio seen in fig. 5 unequivocally as that of Collin in the period around 1891/92.²³ Roederstein herself was evidently likewise working in Collin’s studio at that point in time, as a receipt for her attendance there from April 13 to May 13, 1891 proves.²⁴ As her training at the “Atelier des dames” took place only in the mornings, Roeder- stein studied with the academic painter Luc-Olivier Merson in the afternoons.²⁵ At the time, Merson was in the process of making a name for himself with monumental wall decorations and history paintings. He also offered instruction in working after nude models.²⁶ That may have been a deciding factor in Roederstein’s choice of his teaching establishment, even if there had been numerous other studios and schools where women had the opportunity to draw from nudes.²⁷ In the evenings, she continued her nude studies with a Baltic female friend (who has not been identified to date) and a number of male colleagues.²⁸ This can only have been an arrangement privately organized

26 Fig. 5 The ladies’ class of Raphaël Collin Paris, ca. 1891/92, photograph, Roederstein-Jughenn Archive in the Städel Museum by a small circle of fellow pupils, as the art schools strictly separated the sexes for instruction in nude drawing.²⁹ The additional effort Roederstein undertook to draw from live models shows what importance she attached to the artistic mastery of the human form.³⁰ It has only recently come to light that, even long after her return to Zurich in 1887, the artist continued to seek advice from Carolus-Duran and Henner during her annual several-month sojourns in Paris. In a letter she wrote to her friends, the sisters Jeanne and Madeleine Smith from Frankfurt am Main on September 1, 1892, she described her progress on her painting Let the Little Children Come unto Me (cat. 30). Henner would be pleased to see that she had cut off the composition at the picture’s edges, she wrote. Half a year later, though, herself dissatisfied with her work on the painting, she dreaded Carolus-Duran’s verdict.³¹ It is therefore quite possible that another, undated letter—in which Roederstein describes her consultation with Carolus-Duran as the “only dark moments” (les seules ombres) of her stay in Paris—refers to the sojourn in the spring of 1893.³² In 1895, in want of advice on the first version of her painting Pietà (whereabouts unknown), she turned to Henner, of whom she once said that he had often opened her eyes.³³

Presence and Success in the Parisian Exhibition World

Both teachers presumably supported Roederstein in her submissions to the two major salons in Paris. In December 1880, the state had delegated to the newly founded Société des artistes français responsibility for the famous and—held since 1667—traditional (in both senses of the word) annual exposition, known in English simply as “the Salon.” Immediately thereafter, both Henner and Carolus-Duran were elected to the exhibition committee for the painting section. During the period in which Roederstein exhibited at the Salon, from 1883 to 1889, both were re-elected every year. To be permitted to exhibit there meant shedding one’s art-student status and crossing the threshold into the professional art world. Roederstein made her debut at the Salon of 1883 with a hitherto unidentified portrait of a lady. She also submitted portraits and, less frequently, depictions

27 Fig. 6 of individual genre figures to the Salons that followed—in 1884, for example, the painting Ottilie W. Roederstein Jeune musicien (presumably identical with Little Ragged Violinist; whereabouts unknown). Madame Dimitri Her intention in all of this was quite obviously to present herself to her potential custom- Monnier ers as a portraitist. She scored her first success in 1888 when her painting Madame 1887, oil on canvas, Dimitri Monnier (fig. 6) received a “mention honorable” from the jury. This honor—the 81.5 × 60 cm, MAH Musées lowest on the scale of distinctions—was bestowed on only very few women artists in d’art et d’histoire, Geneva. Bequest of those years, although they meanwhile accounted for approximately fifteen percent of the Sophie E. Monnier, 1950 exhibitors in the Salon’s painting section.³⁴ The painting shows its subject in a conventional pose as a half-length figure in three-quarter view. The dark palette and loose hand- Fig. 7 ling of a broad brush for the elaboration of the background testify clearly to the orien- Claude Monet tation Roederstein took from her teachers in Paris, but also in Berlin. Madame Louis She celebrated her greatest triumph, however, not in the tradition-steeped Salon, Joachim Gaudibert but when she was awarded a second-class medal at the Paris Exposition universelle 1868, oil on canvas, of 1889. Other artists exhibiting with her in the Swiss section included Albert Anker, 216.5 × 138.5 cm, Louise Catherine Breslau, Ferdinand Hodler, Rudolf Koller, and Félix Vallotton. The Musée d’Orsay, Paris distinction actually should have given her great satisfaction, but after an initial moment of bliss she perceived it as proof of her country’s shortcomings (“signe pauvre”).³⁵ Her self-confidence had apparently reached an initial low point at around that time.³⁶ At the Exposition universelle she exhibited two portraits and a biblical figure. With her large-scale, full-length portrait of Miss Mosher (cat. 10), Roederstein was adhering to the mode popular at the time for depicting elegantly robed ladies of the bourgeoisie as staged by such artists as Carolus-Duran (fig. 3), Léon Bonnat, Claude Monet (fig. 7), and others. Like Monet, she rendered her model in profile. Miss Mosher’s pale skin contrasts starkly with the dark background—painted in a cloudy brownish red—and her elegant black gown. These attributes point to how closely she followed Henner in matters of style (fig. 8). On his advice, she moreover lengthened her subject’s legs to achieve a “more graceful” impression.³⁷ In the 1889 catalogue,

28 the portrait is entered under the title Fin d’été (End of Summer), which lends it an alle- Fig. 8 gorical dimension. Jean-Jacques Henner The second likeness she exhibited on this occasion depicts her younger sister Portrait of Countess Helene with an umbrella (cat. 15). On July 31, 1888, the painter announced to her friends Kessler (large study) Jeanne and Madeleine Smith that the painting was finished, ten days later that she ca. 1886, oil on canvas, planned to present it at the 1889 Salon.³⁸ Evidently self-critical, however, she revised it 109 × 69.5 cm, Musée national Jean-Jacques Henner, Paris in parts at the end of the year.³⁹ She then submitted two other portraits to the Salon instead,⁴⁰ and successfully showed this one at the Paris edition of the World’s Fair. In contrast to the darkly colored, full-length figure of Miss Mosher, the portrait of Helene features light hues, quite as if Roederstein wanted to showcase her various palettes. With the third painting she showed at the Exposition universelle of 1889, she ventured down new paths with regard to the response of the public, taking a certain gam- ble in the process. In Ishmael (fig. 9), the thirty-year-old artist proved that she also mastered nude depiction as well as biblical history painting. It was still unusual for women artists to tackle either of these fields at the time. Over many centuries, the male-dominated art world had confined women to portraits, still lifes, and animal depictions—the genres ranking lowest in the academic pictorial hierarchy. On the one hand, male artists did not consider their female colleagues capable of inventing compositions for more sophisticated subjects; on the other hand, for moral reasons women were hardly ever permitted to work from nudes. In the pictorial tradition, the young Ishmael was near ly always shown with his mother Hagar, either in the moment of their expulsion by Abraham, his father, or afterwards when the two are alone in the desert. Instead, Roederstein concentrated solely on the thirsting lad sprawled out on the ground. In front of him lies an empty calabash tipped on its side. Yet there were also forerunners for this iconography, for example in the work of Charles-Francisque Raub, who had exhibited a similarly barren composition at the Salon of 1880 (fig. 10). Like Raub, our artist also shows the body in a twisted pose that, to render it in perspective, presents a great

29 Fig. 9 Ottilie W. Roederstein Ishmael (second version) 1888, oil painting, whereabouts unknown, reproduction, Roederstein-Jughenn Archive in the Städel Museum

Fig. 10 Charles Francisque Raub Ishmael 1880, oil on canvas, 115 × 191 cm, Musée des Beaux-Arts, Chambéry

30 challenge to any painter, man or woman. In comparison to Roederstein’s first version (fig. 11), painted in 1885, the second represents a huge step forward in her development. The torsional twist and the right arm bent upward at the elbow introduce a forceful dynamic to the boy’s body. Whereas in the painting of 1885 an animal hide still covers his loins, three years later it was draped in such a way as to enable the artist to depict the nude in near entirety. After the revival of the Société nationale des beaux-arts in 1890—an endeavor significantly driven by Carolus-Duran⁴¹—Roederstein would, until 1913, exhibit solely at its annual salon and not at the traditional Salon. The Société nationale’s secessionist event was far more open to modern trends than the much more established Salon Fig. 11 meanwhile held by the Société des artistes français. In 1891, she was granted the status Ottilie W. Roederstein of “membre associé” of the new union. At the salons of the ‘Nationale,’ she presented Ishmael (first version) between two and seven new works every year—portraits, genre scenes, religious fig- 1885, oil painting, ures, still lifes, and, for the first time, self-portraits (cats. 17–19 and 22).⁴² Interestingly, whereabouts unknown, reproduction, inscription: Roederstein did not join the Union des femmes peintres et sculpteurs that, founded in “Zürich Weihnachten 85” 1881, held its own salon from 1882 onward. It is quite conceivable that she wanted her (Zurich Christmas 85), works judged not by virtue of her gender but on grounds of their quality, and moreover Roederstein-Jughenn Archive in an exhibit of the ‘regular’ art world. The paintings she exhibited in Paris found fre- in the Städel Museum quent mention in French reviews, which sometimes singled them out with words of praise and only rarely criticized them.⁴³

Lasting Parisian Friendships and Ties

According to Jughenn, Roederstein’s Parisian circle of friends included artists such as Charles Camoin, Othon Friesz, Albert Marquet, Maurice de Vlaminck, Elizabeth Nourse, Louise Catherine Breslau, Ida Gerhardi, Alice Dannenberg, and Martha Stettler.⁴⁴ Jeanne Smith (1857–1943) and Madeleine Smith (later Madeleine Champion; 1864–1940), however—two sisters from a well-to-do family residing in Paris and Nogent-sur-Marne—were among her lasting contacts and those most important to her.⁴⁵ The painter first made the acquaintance of Jeanne in 1885, and, through Jeanne, Madeleine, younger than her sister by seven years. Roederstein presumably began giving Madeleine painting lessons around 1887 and continued to do so even after moving away from Paris. The teacher in Zurich conveyed her corrections to her student in Paris by mail, in response either to photographs of Madeleine’s works enclosed with letters or even originals sent and returned by the postal service.⁴⁶ In subsequent catalogues of the salons of the Société des artistes français, Madeleine accordingly referred to herself as Roederstein’s pupil. In 1890, Roederstein introduced her to Henner,⁴⁷ with whom she would ultimately study, as she would with Hector Le Roux and Raphaël Collin. In Madeleine Smith at the Easel (cat. 2), Roederstein depicted her pupil as an artist, presumably in Smith’s studio at 4 Rue Miche- let in Paris.⁴⁸ Here we see her in the traditional pose of female-artist-as-pleasing-woman, palette and brushes in hand, at work painting an armored figure.⁴⁹ It is interesting to note that the model is Roederstein herself dressed as Jeanne d’Arc, a role in which she also appears in an extant photograph (fig. 12). The sources do not reveal whether this photo was taken on the occasion of a costume party or merely because Madeleine needed someone to model for her painting of Jeanne d’Arc.⁵⁰ Jeanne Smith, who engaged in amateur photography, presumably took the picture. In Roederstein’s portrait of

31 Madeleine at the easel, Jeanne Smith is seen reading at the right. The ca talogue raisonné lists the painting under the year 1885.⁵¹ In view of the fact that Roederstein did not begin giving Madeleine lessons until around 1887, however, the painting must be of a later date. The brightened palette and the stylistic affinity with the Portrait of a Painter in a Parisian Studio (cat. 11), dated 1887, likewise indicate a later execution. This assumption is moreover underscored by the fact that Madeleine did not show her Jeanne d’Arc at the Salon until 1891. Roederstein thus presumably painted her portrait of Madeleine around 1890.⁵² From today’s point of view, the interplay between subject—three women per- forming or role-playing at different levels of portrayer and portrayed—and medium—painting and photography— richly invites interpretation and analysis. Roederstein herself, however, evidently did not consider the painting important. She never exhibited it in public, and it appears to have passed into the possession of the Smith sisters early on.⁵³

Return to Zurich

Following a five-year stay in Paris, Roederstein returned to Zurich in the spring of 1887. She had not only completed her education in the French metropolis, but also gained recognition at the Salon. She thus had everything she needed to establish herself as a painter elsewhere. During her time in Paris, she had already paid regular visits to her native town, where she initially had a studio in the Künstlergut, the first location of the Kunsthaus Zürich, and later in the time- honored Schneggli (figs. pp. 174f. and 179). Starting in 1882, Fig. 12 she had, moreover, frequently presented works at the art gallery of Heinrich Appenzeller, Ottilie W. Roederstein which was considered Zurich’s most important at the time, and participated twice in the as Jeanne d’Arc Schweizerische Ausstellung (Swiss Exposition) in that city. Until the outbreak of World ca. 1887–89, photograph War I, however, Roederstein kept a studio for herself in Paris, albeit at different address- by Jeanne Smith, es.⁵⁴ It is highly probable that her friendship with the young medical student Elisabeth H. Roederstein-Jughenn Archive in the Städel Museum Winterhalter, whom she had met in Zurich in 1885, played a role in her return to her native country. In 1891, the two women moved to Frankfurt am Main together. Roederstein’s initial years there were not easy for her, however: as late as 1892 she still yearned for her bohemian life with Annie Hopf.⁵⁵

Cat. 2 Madeleine Smith at the Easel ca. 1890 Oil on canvas, 163 × 99 cm Fondation des Artistes, Paris, Bequest of Jeanne and Madeleine Smith (1944)

32 33 1 “Ottilie W. Roederstein,” in Bettina Konrad and Institute, Williamstown; The Dahesh Museum, francs plus 10 francs admission fee), Biblio- Ulrike Leuschner, eds., Führende Frauen Eu- New York; and The Dixon Gallery and Gardens, thèque nationale de France, Manuscrits, ropas: Elga Kerns Standardwerk von 1928/1930 Memphis (New Brunswick and London, 1999); Archives de la famille Smith-Lesouëf (NAF (Munich and Basel, 1999), pp. 34–40, here p. 34; on the Académie Colarossi, see Benoît Noël 28416), Lettres reçues par Madeleine Smith Ottilie W. Roederstein, “Mein Lebenslauf,” and Jean Hournon, Parisiana: La capitale des (abbreviated in the following as “BnF/Smith”), in Schweizer Frauen der Tat, 3 vols., vol. 3: peintres au XIXe siècle (Paris, 2006), pp. 134–37. vol. IX, no. 183r. 1855–85 (Zurich, 1929), pp. 82–87, here p. 82. On the private painting studios, see Bolloch 25 See Francis Ribemont, L’étrange Monsieur 2 Heinrich Appenzeller, “Pfyffer, Eduard,” in Carl 2017 (see note 12), p. 262. Merson, exh. cat. Musée des Beaux-arts et Brun, ed., Schweizerisches Künstler-Lexikon, 14 Denise Noël, “Les femmes peintres dans d’Archéologie, Rennes (Lyon, 2008). e 3 vols., Frauenfeld, 1905–13, vol. 2 (1908), la seconde moitié du XIX siècle,” in Clio: 26 Boston Art Students’ Association 1887 pp. 546–47. Femmes, Genre, Histoire, vol. 19, 2004, (see note 19), p. 28. pp. 1–13, here p. 4, pts. 10–12. 3 Rachel Mader, Beruf Künstlerin: Strategien, 27 Noël 2004 (see note 14), p. 4; Germaine Greer, Konstruktionen und Kategorien am Beispiel 15 See Carolus-Duran, 1837–1917, exh. cat. Palais “‘A tout prix devenir quelqu’un’: The Women Paris 1870–1900, Ph.D. diss. (Universität Bern, des Beaux-Arts, Lille, and Musée des Augustins, of the Académie Julian,” in Peter Collier and 2006) (Berlin, 2009), esp. chap. 5.1. Toulouse (Paris, 2003); Jean-Jacques Henner— Robert Lethbridge, eds., Artistic Relations: 4 Barbara Rök, Ottilie W. Roederstein (1859– Face à l’impressionnisme: Le dernier des ro- Literature and the Visual Arts in Nineteenth- 1937)—Eine Künstlerin zwischen Tradition und mantiques, exh. cat. Musée de la Vie roman- Century France (New Haven and London, Moderne: Monographie und Werkverzeichnis, tique (Paris, 2007). 1994), pp. 40–58, here p. 54. Ph.D. diss. (Philipps-Universität Marburg, 1997), 16 During her interview for admission, Henner re- 28 Konrad and Leuschner 1999 (see note 1), p. 36. edited by Eva Scheid and published on behalf portedly attributed “a certain Holbein succes- 29 Gabriel P. Weisberg, “The Women of the of the municipal administration of the city of sorship” to OWR; see Konrad and Leuschner Académie Julian: The Power of Professional Hofheim am Taunus—Stadtmuseum/Stadt- 1999 (see note 1), pp. 35–36. Whereas she Emulation,” in exh. cat. Williamstown et al. archiv on the occasion of the exhibition of had already had the opportunity to admire 1999 (see note 13), pp. 13–67, esp. p. 13. the same name (Marburg, 1999), p. 20. Hol bein’s works at the Kunstmuseum Basel, it 30 Rök 1999 (see note 4), p. 34. 5 Clara Tobler, Ottilie W. Roederstein (Zurich et would be quite some time before she was able al., 1929), p. 17. to study originals by Velázquez: at the Louvre 31 OWR to JS and MS, Frankfurt a. M., September in Paris, and later at the Frankfurt Städel (1891) 1, 1892, BnF/Smith, vol. VIII, no. 225r; OWR to JS 6 Konrad and Leuschner 1999 (see note 1), p. 35. and, later still, during her trip to Spain (1902). and MS, undated [around March 22, 1893], 7 Rök 1999 (see note 4), p. 24. 17 Isabelle de Lannoy, “Henner et ses amis art- ibid., vol. IX, no. 131v. 8 Camilla G. Kaul, “Karl Gussow und der Natu- istes, une seconde famille,” in Musée national 32 OWR to JS, undated, BnF/Smith, vol. IX, no. 136r. ralismus: Max Klingers Lehrer und ‘grösster Jean-Jacques Henner: De la maison d’artiste 33 OWR to MS, undated [August 25, 1895], BnF/ Bewunderer,’” in Hans-Werner Schmidt and au musée (Paris, 2016), pp. 111–22, here p. 112. Smith, vol. IX, no. 51v; OWR to MS, November 1, Jeannette Stoschek, eds., Max Klinger: “Der 18 On the “Atelier des dames,” see Frank Claustra, 1895, ibid., vol. IX, no. 54v; OWR to JS and MS, grosse Bildner und der grössre Ringer…” “Carolus-Duran et les Nordiques,” in exh. February 9, 1893, ibid., vol. VIII, no. 274v. (Berlin et al., 2012), pp. 8–32 (Schriften des cat. Lille and Toulouse 2003 (see note 15), Freundeskreises Max Klinger). 34 Noël 2004 (see note 14), pp. 2, 5–6. pp. 42–52, esp. pp. 47–50; Isabelle de Lannoy, 9 Tamar Garb, “The Forbidden Gaze: Women J. J. Henner: Catalogue raisonné, 2 vols. (Paris, 35 “Soll ich wirklich eine Medaille auf der Artists and the Male Nude in Late Nineteenth- 2008), vol. 1, pp. 68–69; id., “Jean-Jacques Weltausstellung bekommen haben oder nur in Century France,” in Kathleen Adler and Marcia Henner et ‘l’atelier des dames’: ‘Des têtes, des Frage gekommen sein. Ich bin so verwirrt über Pointon, eds., The Body Imaged: The Human morceaux seulement?’” in Marie Petiet: Être das Glück welches ich nicht glauben kann daß Form and Visual Culture since the Renaissance femme peintre au 19e siècle, exh. cat. Musée ich selbst nicht weiß wie es zu verstehen ist.… (Cambridge, 1993), pp. 33–42; Margaret A. Op- Petiet, Limoux and Musée des beaux-arts, Nie hätte ich gedacht eine Medaille oder auch penheimer, “‘The Charming Spectacle of a Ca- Carcassonne (Milan, 2014), pp. 13–17; Isabelle nur Mention zu bekommen deshalb ist mir das daver’: Anatomical and Life Study by Women Magnan, “Jean-Jacques Henner: Professeur Glück unbegreiflich.” (Should I truly have re- Artists in Paris, 1775–1815,” in Nineteenth- des dames,” in Musée national Jean-Jacques ceived a medal at the World’s Fair or even have Century Art Worldwide, vol. 6, 2017, pp. 62–86. Henner 2016 (see note 17), pp. 125–33. come under consideration. I’m so confused by On Gussow’s instruction, see Carola Muysers, this stroke of luck, which I can’t believe, that 19 Boston Art Students’ Association, ed., The Art “Werk und Leben der Freilichtmalerin Clara even I don’t know what to make of it… I never Student in Paris (Boston, 1887), pp. 32, 35; see von Rappard 1857–1912,” in Clara von Rappard: would have thought I’d receive a medal or even also: Jo Ann Wein, “The Parisian Training for Freilichtmalerin 1857–1912, exh. cat. Museum just a mention; that’s why this fortune is in- American Women Artists,” in Woman’s Art Schloss Jegenstorf and Kunstmuseum Pilsen, comprehensible to me.) OWR to JS and MS, Journal, vol. 2, 1981, pp. 41–44, here p. 42. ed. by idem on behalf of the Gesellschaft July 4, 1889, BnF/Smith, vol. VIII, no. 67v/68r; Clara von Rappard (Bern, 1999), pp. 7–45, 20 Anonymous, “A French Painter and His Pupils,” “Chères amies je ne mérite pas une médaille here pp. 17–19. in Century Magazine, vol. 31, 1886, pp. 373–76, et je suis tout à fait honteuse, bien contente si here p. 373; Claustra 2003 (see note 18), personne ne me parle je trouve c’est un signe 10 Konrad and Leuschner 1999 (see note 1), p. 35. pp. 47–50. pauvre pour notre pays.” (Dear friends, I don’t 11 Ibid.; Roederstein 1929 (see note 1), p. 83; Rök 21 Phoebe D. Natt, “Paris Art-Schools,” in Lippin- deserve a medal, and I’m quite ashamed of it, 1999 (see note 4), pp. 29–30. cott’s Magazine, vol. 27, 1881, pp. 269–76, here and glad when no one brings it up; I consider 12 Mader 2009 (see note 3), p. 23, note 47; Joëlle p. 275. it proof of our country’s shortcomings.) OWR Bolloch, “Female Painters at the Paris Salon,” to JS and MS, July 16, 1889, ibid., vol. VIII, no. 22 Magnan 2016 (see note 18), p. 133, notes 8, 11. in Women Artists in Paris, 1850–1900, exh. cat. 85r. [Editors’ note: OWR’s spelling errors in Denver Art Museum; Speed Art Museum, Lou- 23 Ladies’ class of Raphaël Collin, 1892, photo- French have been corrected; unless otherwise isville; and Clark Art Institute, Williamstown graph, mounted on cardboard, 26.8 × 21.4 cm indicated, that also applies to other quotations (New Haven, 2017), pp. 258–65, here p. 263. (photo), 36 × 27 cm (mount), inscribed at in this text.] bottom: “Atelier R. Collin. Paris. 1892 / Jh. [?] 13 On the Académie Julian, see Gabriel P. Weis- 36 Her emotional state would worsen during Pearson,” Galerie du Centre, Lausanne. berg and Jane R. Becker, Overcoming All Ob- her first years in Frankfurt. This follows from stacles: The Women of the Académie Julian, 24 Receipt for payment for OWR’s attendance OWR’s letters to Jeanne and Madeleine Smith exh. cat. Sterling and Francine Clark Art in Collin’s studio from May 13, 1891 (costs: 45 of the years 1890 to 1893; ibid., vols. VIII and IX.

34 37 OWR to MS, September 16, [1891], ibid., 44 Roederstein-Jughenn Archive in the Städel OWR as Jeanne d’Arc is dated 1890 in pencil; vol. VIII, no. 157v. Museum, Frankfurt a. M., acquired in 2019 Fondation des Artistes, Nogent-sur-Marne, 38 OWR to JS and MS, Zurich, July 31, 1888, ibid., as a gift from private ownership; Rök 1999 photo album DIV-PHO-D-No 159. vol. VIII, no. 32r; OWR to JS and MS, Weissbad, (see note 4), pp. 54–56, 246. 53 The painting is seen in a photo of Madeleine August 10, 1888, ibid., vol. VIII, no. 35r. 45 Rök 1999 (see note 4), pp. 37–38. Smith’s studio at 4 Rue Michelet in Paris 39 OWR to JS and MS, December 23, 1888, ibid., 46 Letters from OWR from 1888 to 1894, (presumably early eighteen-nineties); BnF/ vol. VIII, no. 61r/61v. BnF/Smith, vol. VIII. Département des estampes (see note 48). 40 Rök 1999 (see note 4), cat. rais. nos. 116, 125. 47 Magnan 2016 (see note 18), p. 133, notes 8, 11. 54 At the latest 1883–87: 77 Rue Notre-Dame- des-Champs; 1888: 72 Rue Notre-Dame- 41 Des amitiés modernes—De Rodin à Matisse: 48 See the photos of that studio in the photo al- des-Champs; 1888–90: 8 Rue de la Grande- Carolus-Duran et la Société nationale des bum in the Bibliothèque nationale de France, Chaumière; 1891–1903: 5 Rue Bara; 1903–14: beaux-arts 1890–1905, exh. cat. La Piscine— Département des estampes et de la photo- 108 Boulevard du Montparnasse. Musée d’art et d’industrie André-Diligent, graphie, Réserve Archives Smith-Lesouëf, Roubaix (Paris, 2003). ZF 120 petit folio famille 4, fascicle III. 55 “La seule chose laquelle me tenterait encore ce serait de vivre avec Hopf une vie bohémi- 42 On this subject, see the contribution by 49 Rök 1999 (see note 4), pp. 107–09. enne sans avoir un chez moi rien que mes Barbara Rök in this publication, pp. 48–59. 50 Portrait of Jeanne d’Arc, 1890/91, oil on canvas, couleurs l’argent dans ma poche et les habits 43 Particularly the renowned critic Albert Wolff 130 × 60 cm, Fondation des Artistes, Paris, inv. sur mon dos la liberté la liberté pas la société lauded OWR’s abilities; see his entries in his no. 178. ni du monde élégant loin de tout rien que la publication series Figaro Salon of 1898 and 51 This dating is based on a list of works sent to nature.” (The only thing that could still appeal 1899. She was also mentioned with words of Jughenn by Jeanne Smith in September 1941; to me would be to lead a bohemian life with praise in Le Rappel, May 5, 1889, p. 2; L’Intransi- Roederstein-Jughenn Archive in the Städel Hopf, without a home, just my paints, money geant, June 12, 1890, p. 3; Le Figaro, April 30, Museum, call no. OR 22. in my pocket, and clothes on my back, free- 1898, p. 4; Le Radical, April 21, 1901, p. 2; she dom, freedom, neither society nor the beau 52 Whereas in the catalogues accompanying met with negative response, on the other monde, far away from everything, nothing but OWR’s 1938 memorial exhibition in Zurich and hand, for example in Ernst Hoschédé, Brelan nature.) OWR to MS, undated [July 24, 1892], Bern it is dated 1889, in the catalogue accom- de salons (Paris, 1890), p. 295; Le Figaro, BnF/Smith, vol. VIII, no. 220v. panying the first venue in Frankfurt it is dated Supplément, May 9, 1893, p. 1. 1885. A surviving full-length photograph of

35 36 Cat. 4 Cat. 5 Gertrude Angela Kingston, Portrait of a Young Woman née Konstam with Dark, Pinned-Up Hair 1884 and a Red Coral Necklace Oil on canvas, 55.5 × 46 cm 1885 Stadtmuseum Hofheim am Taunus Oil on canvas, 60 × 46 cm Private collection, Zurich

Cat. 3 Pastor Bion 1886 Oil on canvas, 107 × 82 cm Kunsthaus Zürich, donated by Consul R. Schöller, 1887

37 Cat. 6 Bedouin 1885 Oil on canvas, 45 × 37.5 cm Stadtmuseum Hofheim am Taunus

Cat. 7 Portrait of an African Man ca. 1887–89 Oil on canvas, 88 × 67 cm Private collection

38 39 Cat. 8 Grandmother with Sleeping Child in Her Arms ca. 1887 Oil on canvas, 65.5 × 54.5 cm Ralf Weber, Hofheim

Cat. 9 Jeanne Smith with Dog 1889 Oil on canvas, 207 × 100 cm Fondation des Artistes, Nogent-sur-Marne, Bequest of Jeanne and Madeleine Smith (1944)

40 41 42 Cat. 11 Portrait of a Painter in a Parisian Studio 1887 Cat. 10 Oil on canvas, 86.1 × 49.5 cm Miss Mosher or Städel Museum, Frankfurt am Main End of Summer ca. 1887 Oil on canvas, 201 × 80 cm Private collection

43 Cat. 12 Portrait of Helene Roederstein (The Painter’s Sister) 1890 Oil on canvas, 103.4 × 65.2 cm Städel Museum, Frankfurt am Main

44 Cat. 13 Portrait of Dr. Elisabeth Winterhalter 1887 Oil on canvas, 102.1 × 82 cm Städel Museum, Frankfurt am Main

45 Cat. 14 Hedwig Nienhaus ca. 1888–90 Pastel on canvas, 59 × 44 cm Private collection

Cat. 15 Helene Roederstein with Umbrella 1888 Oil on canvas, 115 × 84.5 cm Private collection, Zurich

46 47 The Self as Manifesto and Affirmation A Look at Roederstein’s Painted Self-Portraits

/ Barbara Rök

48 49 Cat. 16 Self-Portrait 1883 Oil on canvas, 32.5 × 24.5 cm Private collection

n the summer of 2017, a self-portrait by Ottilie W. Roederstein that had disappeared without trace half a century earlier (cat. 16) turned up on a German television pro- Igram.¹ Showing her in strikingly rigorous profile, the likeness differs from most of her other works in this genre. The sitter’s gaze deliberately evades ours, giving the image the look of an objective portrayal of physiognomic features. The head covering is a motif also frequently found in the artist’s later self-portraits. It was not by coincidence, however, that she chose a beret. Encountered in numerous self-portraits of earlier eras, but also in contemporary portraits and self-portraits of and by other artists, it combines its French origins with a bohemian flair, and is thus to be understood as a reference to the artist’s stay in Paris and the way of life in that city. Executed with rapid brushstrokes, leaving the canvas blank in parts and merely al- luding to some areas of the background, the work is clearly a study. The new living and working situation Roederstein had finally achieved for herself only a year earlier is manifest in the looseness of the brushwork, the light palette, the suggestion of plein air in the impressionistically sketchy rendering of the landscape background, and not least in the inscription “Paris.” The work’s appearance in a historical photograph in the Roe- derstein-Jughenn Archive has made it possible to identify and verify it, and, on the basis of the artist’s handwritten caption, to correct the original dating—“circa 1886”—to 1883. The small unsigned likeness, inscribed merely with the place of its execution and dated as described above, is not known to have ever been on exhibit before and was presumably always in private ownership. After Roederstein’s death, it was still in the possession of the husband of her friend and fellow artist Annie Stebler-Hopf, who had died in 1918.²

50 The small profile depiction is one of the first in a long series of self-portraits by Ottilie W. Roederstein.³ It was not only in terms of the magnitude of her œuvre that Roederstein was among the most productive artists of her time; she was also exceptional by virtue of the sheer number of self-likenesses she produced—more than eighty in all.⁴ Not many artists have devoted themselves to the self-portrait as an ever-recurring theme. Lovis Corinth, Edvard Munch, Max Beckmann, and Max Slevogt are worthy of mention among those of Roederstein’s contemporaries who did, and within her personal circle, her compatriot Ferdinand Hodler⁵ and the Berlin-based artist Käthe Kollwitz⁶ are especially prominent representatives of this practice. There has always been a lot of speculation about what motivates artists to make themselves the subject of their work. Are they ultimately striving for an intimate critical examination or affirmation of the self, or reassuring themselves of their own status or state of mind, or casting an image of the self within some wider artistic or social framework? It is difficult to come to any generally valid conclusion, for the individual authors and their respective situations vary too greatly. Perhaps Volker Adolphs characterized the matter the most Fig. 1 aptly when he wrote that, in a self-portrait, the artist shows “how he sees himself or Rembrandt wants to be seen.” The principal concern here is not with “revelations of the secrets of Harmensz. van Rijn the artist’s soul” with which the viewer “intuitively endows the self-portrait.” Rather, Self-Portrait “the self-portrait [is] recognizable as the place where the artist conceives an image of with Gorget himself” which only he “can authentically attest to in the interweave of the view from ca. 1629, oil on oak, 38.2 × 31 cm, Germanisches without and that from within.”⁷ Nationalmuseum, Nuremberg. The motivations, approaches to the depiction of the self, and statements a self-por- Loan from the Kunstsamm- trait was intended to make were as varied as the artists’ individualities. Whereas Corinth, lungen der Stadt Nürnberg for example, took his own birthday as an occasion to paint a self-portrait every year from 1900 onward as a way of documenting his aging process,⁸ the self-portraits of other artists are distributed over their œuvres at very different intervals, as we see, for instance, in Hodler. Self-portrayal as a form of self-interrogation, for example in the case of Kollwitz, was rather rare.⁹ Usually the intention was a staging of the self, as in various self-portraits by Paula Modersohn-Becker, who devoted herself to this genre with great intensity.¹⁰ The subject is one that the artist is at liberty to handle in a highly individual manner, which, naturally, can change over the course of an œuvre, as was the case with Roederstein.

Programmatic Self-Portraits

The first self-portrait Roederstein ever exhibited in public—the Self-Portrait with Red Cap of 1894 (cat. 17)—is anything but an instance of calm self-contemplation. In the close- up bust, the incidence of light serves to heighten the dramatic effect. The strong chiaroscuro contrasts immediately remind us of Rembrandt’s paintings, for example his famous Self-Portrait with Gorget (fig. 1). In Roederstein’s work, the light, entering from above, illu- minates the bright red of the beret, which in turn casts a shadow over half of the subject’s face. She has her head turned toward her shoulder, such that one of her eyes is in the light and meets that of the viewer with a clear and intent gaze. The darkness of her clothing

51 and the background serves to direct our focus to her face and cap. In her choice of pose, the red beret, and not least the small format, the artist was plainly referring to male portraits of the German and Italian Renaissance,¹¹ a visual remi- niscence that moreover went hand in hand with a change in painting technique. Not long before Roederstein executed this work, she was introduced to tempera painting by Karl von Pidoll, who worked in the studio next to hers at the Städelsches Kunstinstitut in Frankfurt. Himself an ardent admirer of the art of Hans von Marées, he acquainted her with the technique practiced by that painter. Marées had already caught Roederstein’s attention back in 1891. On the occasion of the Münchener Jahres-Ausstellung von Kunstwerken aller Nationen (Annual Exhibition of Artworks of All Nations), she wrote: “Also colossally interesting the works by de Marées.… He studied entirely according to the Old Masters & among his works I found one almost as good as a Rembrandt.”¹² Pidoll’s inspiration fell on fertile ground and, as is apparent in her Self-Portrait with Red Cap, Roeder- stein soon put it into practice. In the exhibition catalogue of the salon held by the Société nationale des beaux-arts, she consequentially entitled the likeness with an emphatic “Mon propre portrait à la détrempe” (My own portrait in tempera). At the time she painted it, she was still struggling with the transition to what was, for her, a new technique. In a letter to the mother of her friends Jeanne and Madeleine Fig. 2 Smith, she wrote: “My little portrait (of myself) has a good place on one of your nice Ottilie W. Roederstein easels. I still have a lot of work to do on it before it’s finished because I’m still having a Underdrawing for good deal of trouble with the tempera paints.”¹³ Self-Portrait with Keys A many-faceted declaration accompanies this self-portrait. Both the prominent in- 1935, reproduction, scription at the upper edge—“O. W. Roederstein peinte par elle même 1894” (O. W. Roederstein-Jughenn Archive Roederstein, painted by herself 1894)—and the fact that it was on view that very year in the Städel Museum in the salon in Paris (as well as in Berlin, Geneva, and Zurich in the years that followed) clearly convey the ambition and message the artist associated with the work. Here Roederstein had painted a self-portrait for the public that not only identifies a woman as its author, but also shows that woman, makes her present, and frames her art within the Renaissance tradition. She thus endowed the work with the claim of a masterpiece testifying to her command of style and technique. It is the presentation of something achieved, and formulates a pictorial affirmation of her new painting style. As compared to every other subject, the self-portrait offered her the best means of making herself visible as an artist. With an artistic statement of the most personal kind and in defense of her artistry, she herself attests to her artistic orientation, potential, aspiration, and ability, but also to her individual situation as a female artist. In short, she is mapping out her own position, in every sense of the word. The self-portraits of the following years likewise exhibit this programmatic character. At the salons of the Société nationale des beaux-arts, they demonstrated Roeder- stein’s stylistic pursuits of the respective year to a vast art-loving audience and linked the artist with her art in the most intense and palpable way possible. The Self-Portrait with Hat of 1904 (cat. 22), for example, testifies to yet another stylistic and technical change the artist had brought about in her work only a short time earlier. Having suffered a hand injury in 1901 and traveled to Spain in the spring of 1902—where she was

52 once again inspired by the paintings of Diego Velázquez¹⁴—she had entered a transi- tional phase in which she strove to pick up the thread in works executed before the turn of the century. Ultimately, however, she returned to oil painting, a circumstance she now presented to the public. Much like the earlier self-portrait (cat. 16) in terms of pose (being almost a mirror image) and the incidence of the light, the later one exhibits a distinctly brighter palette, a loose, broad-brushed application of the paint, and, in the background, flowers rendered in virtually Impressionist manner. This self-portrait in oil was likewise intended for public display, as we can gather from the fact that the artist showed it in the salon of the Société nationale des beaux-arts just the following year as a way of advertising the artistic potential of its subject. Like the Self-Portrait with Red Cap of 1894, it seems to have been one of the first works bearing witness to a new stylistic phase in the artist’s development. Whether or not the two works served Roederstein specifically as vehicles for experimenting with new styles, however, is a question that can no longer be answered con- clusively today. The Self-Portrait of 1900 (cat. 18)—that is, from between the two works discussed above—likewise has an appellative function. It shows that, in this phase, despite the stylistic orientation she took from portraits of the fifteenth and six- teenth centuries, Roederstein also painted works reminiscent of the œuvre of her Parisian teacher Jean-Jacques Henner with regard to palette and the loose brushwork. With the vivid red of the blouse and the direct, firmly fixed gaze, this por trait again claims the viewer’s attention, while also ser- ving as proof and a prime example of the broad spectrum of technical and stylistic possibilities the artist now had at her disposal.¹⁵ One of Roederstein’s chief concerns was thus apparently to demonstrate her abilities and stylistic developments, particularly in the examples she presented at the salons of the Société nationale des beaux-arts. Between 1890 and 1914, the period in which she exhibited there, it was by no means standard practice to submit Fig. 3 self-portraits. A glimpse at the salon catalogues—of both the conservative Société des Félix Vallotton artistes français and the rather more open Société nationale des beaux-arts—provides Self-Portrait evidence that this genre accounted for only a tiny percentage of the total number of 1905, oil on cardboard, works on view. Roederstein’s decision to present self-likenesses—and do so repeated- 82 × 64.5 cm, Kunsthaus Zürich, 1938 ly—is indicative of the meaning and importance she attached to them.

A Change in Meaning: The Late Self-Portraits

Roederstein also exhibited self-portraits executed after 1912—again, often relatively soon after completing them. Yet because she had since found her own very personal, rather objective, and now firmly established style, the presentation of her artistic developments gradually receded into the background in favor of what she wanted to impart in terms of content. Another testimony to the change in meaning is the substantial increase in the number of self-portraits she executed in later years.¹⁶ We are reminded of Pablo Picasso, whose preoccupation with self-portraits likewise became far more intense in the final years of his life. To those around him, he seemed to be searching for an artistic means of conveying what he felt was imperative for him to express before he died.¹⁷

53 Fig. 4 We can assume a similar motivation in the case of Roederstein. Many of the examples of Ferdinand Hodler the late years resemble one another in composition, pose, and clothing, the only major Self-Portrait variation being in the head coverings. They appear like modifications in the search for the ca. 1916, oil on cardboard right content, the desired statement. And they show that the artist was less and less on canvas, 38.5 × 31 cm, Musées interested in technique and style than in the description of physiognomy and posture— d’art et d’histoire, Geneva and thus of her physical and emotional state. The focus on the pictorial message is especially apparent in one of her last self-portraits, dated 1936 (cat. 27). Whereas in an under- Fig. 5 drawing that has come down to us in a photograph we can discern a cigarette or cigarillo Ottilie W. Roederstein in the artist’s hand (fig. 2), in the finished painting she holds a set of large keys which her Self-Portrait with longstanding friend Martha Sommer identified as the keys to her studio.¹⁸ In this work, Red Collar Roederstein seems to have found pictorial expression for a core idea—of locking up 1915, painting, whereabouts unknown, reproduction, her domain, and thus virtually concluding her lifework, as her friend and biographer Roederstein-Jughenn Archive Hermann Jughenn had already conjectured.¹⁹ in the Städel Museum Motivic Affinities

With a single exception—a painting she abandoned at a very early stage²⁰—Roederstein differed from numerous other artists in that she avoided the classical motif of the self-portrait at the easel, and in fact refrained from integrating her self-portrayals in sur- roundings of any kind. In combination with her increasingly objective style, this circumstance reminds us of various self-portraits by Félix Vallotton dating from after the turn of the century (fig. 3).²¹ Instead, she repeatedly underscored her authorship in inscriptions or, on occasion, revealed her identity as an artist by showing herself holding paint- brushes (cat. 20). In these cases she displays the working utensil in an ostentatious, sometimes downright defiant manner, almost like a weapon.²² At the same time, she her self opposed its metaphoric interpretation: “She had to smile almost pityingly when someone remarked, in connection with her self-portrait at the Kunsthaus Zürich, that the upward-pointing brush must have symbolic meaning. ‘I wanted the vertical,’ she replied curtly.”²³

54 In her self-portraits, the artist concentrated exclusively on her own appearance, depicting herself before consistently neutral backgrounds, in most cases in bust or half-length mode, and with her gaze meeting the viewer’s. In rare instances such as the Self-Portrait with Keys (cat. 27), she depicted herself from the hip upward. The pose with her head turned to the side would remain the one she most preferred. Over the years, it was joined by en-face depictions.²⁴ Readable as a turn toward the viewer, the latter went hand in hand with a gradual opening toward her own self, combined with a more intensive interrogation of her state of mind. The increasing parallelism of the pictorial surface and the shoulder axis sparks associations with the numerous self-portraits of Ferdinand Hodler. Many of his self-likenesses of the year 1916 are distinguished by a strained and focused facial expression (fig. 4). Roeder- stein’s œuvre contains examples that, although more moderate in character, nevertheless suggest a preoccupation with works by this Swiss artist (fig. 5). A landscape carried out after the manner of comparable paintings by her compatriot and personal acquaintance offers concrete evidence of her close knowledge of Hodler’s œuvre (cat. 55).

The Self-Portrait as Proof of Emancipation

The Self-Portrait with Folded Arms of 1926 (cat. 21) likewise exhibits the turn toward and focus on her vis-à-vis. The masculine-looking pose with folded arms is a Fig. 6 motif Roederstein used, fittingly, in various likenesses of men.²⁵ From a portrait photo- Ottilie W. Roederstein graph she had made of herself by the prestigious Atelier Bamberger (led by Carl Böttch- ca. 1895, photograph, er) in Frankfurt (fig. 6) presumably around 1895, we know that she also employed it early Atelier Bamberger / on to demonstrate determination and self-assurance in her self-stagings. As Roederstein Carl Böttcher, Frankfurt am Main, Roederstein-Jughenn frequently sent people photographs of herself, we can assess her habit of commission- Archive in the Städel Museum ing such portrait photos in relation to the persona she wished to cultivate to a select public.²⁶ Later in her career, she again had herself photographed with folded arms. She also chose this pose for a portrait of her life companion Elisabeth H. Winterhalter (cat. 1), whose career as a doctor and advocator of education for girls had required a great deal of self-assertion, perseverance, and a fighting spirit.²⁷ From about 1914 onward, Roederstein presented herself in her self-portraits in increasingly masculine manner. With hair pinned back, her striking facial features stand out all the more prominently and, in combination with a kind of suit-jacket-like garment, occasionally covered by a painter’s smock, she cuts an androgynous figure. The inclusion of a cigarette or cigarillo in the self-likenesses of the 1930s further emphasizes this masculine appearance, as smoking was largely considered unfeminine.²⁸ The artist herself presumably considered these accessories pictorial expressions of non-conformity, independence, and emancipation. With its direct, unshaded eye contact, choice of clothing, and not least the pose of hand on hip, the half-length Self-Portrait in Blue of 1930 (fig. 7) most conveys a self-confident, almost provocative air.²⁹ A description of 1937 provides evidence that it was by all means a realistic depiction, and not exclusively an expression of a claim to a certain societal status: “Among the guests dressed according to the conventions of the time, the lady [Roederstein] in the black skirt, sturdy comfortable low shoes, white vest, and the tuxedo-like jacket had a conspicuous and exceptional appearance: an impression further reinforced by the fact that she was in the habit of smoking a cigar, with relish.”³⁰ A comparison with a self-portrait by Max Beckmann of 1927 (fig. 8) shows how deliberately Roederstein thus joined the tradition of self-portraits by her male colleagues as a way of demonstrating both her

55 Fig. 7 professional and social emancipation.³¹ The emphasis on masculine demeanor is also Ottilie W. Roederstein evident in the self-portraits of Käthe Kollwitz, with whom Roederstein remained in con- Self-Portrait in Blue tact all her life after making her acquaintance in Berlin. Kollwitz presumably employed 1930, tempera painting, such a demeanor as a means of lending herself a more serious appearance and thus 74 × 55.5 cm, whereabouts of gaining respect and recognition.³² unknown, reproduction, Roederstein-Jughenn Archive In one of Roederstein’s last self-portraits (cat. 26), the cigarillo takes on a level of in the Städel Museum meaning beyond the mere function of a masculine accessory. Particularly by virtue of its prominent placement in the composition, the weak but discernible glow demands Fig. 8 attention in its own right. Within the context of the other portraits of this period, which Max Beckmann likewise exhibit a dark palette, and the Self-Portrait with Keys of the same year, the Self-Portrait in Tuxedo cigarillo’s dusky glow can be interpreted as a symbolic reference to the approaching 1927, oil on canvas, end of life. 139.5 × 95.5 cm, Harvard Art Museums / Busch-Reisinger Museum, Association Fund The Self-Portraits as Vehicles of Meaning—A Résumé Throughout her career, Roederstein strove to assert her artistic and personal concerns and confirm them visually. By making herself visible, she achieved the most direct possible link between work and author. Whereas the self-portraits of the years up to and including 1904 can be regarded as professional posturing and advertisements for her stylistic orientation and potential before a large audience, those of the following years present a self-assured artist with a claim to equality and recognition. In the majority of examples, especially of the tens and twenties, Roederstein emphasized the austere aspects of her outward appearance and chose to pose in such a way as to convey the impression of aloofness and self-confidence, thus formulating an ideal rather than a faithful portrayal of her character. After all, numerous contemporaries described her as a

56 sensitive, obliging, and open person,³³ and her surviving correspondence—for example Fig. 9 with her friends Jeanne and Madeleine Smith—frequently reveals her uncertainty and Ottilie W. Roederstein vulnerability.³⁴ between two self- The self-portraits of the thirties predominantly show the artist striving to come to portraits, at the left the terms with the aging process. Her concern lay less and less with defining her stand- painting Self-Portrait point; and the struggle to gain a reputation and a place in the art world was now also a in Blue 1936, photograph, thing of the past: she had already long attained the desired status. Now Roederstein Roeder stein-Jughenn Archive was primarily interested in the undisguised conveyance of her own state of mind. With in the Städel Museum reference to one of her self-portraits of 1934, she remarked: “In my last self-portrait I inscribed my inner life from the atmosphere that pervades me in Germany.”³⁵ Far re- moved from any form of idealization, the artist exposed her innermost being in these works, and imparted her mental anguish. She is known to have suffered from long bouts of depression, especially in the thirties. A letter from Martha Sommer in response to a reproduction of the Self-Portrait with Keys (cat. 27; sent to her by Roeder- stein in the form of a postcard) bears witness to how authentically the artist managed to translate those depressions into visual language: “But I was shaken to the core at just how sick, aged, and unhappy you look in it.”³⁶ Even in the last decade of her career, Roederstein had various opportunities to exhibit her latest self-portraits. Toward the end of her life, she embarked on an effort to donate a work to the famous collection of self-portraits at the Uffizi in Florence. She did not live to see this wish come true, however—her 1936 Self-Portrait in Blue (fig. 9) was accepted into the museum’s holdings after she had passed away.

57 1 Bares für Rares, ZDF, Mainz, program of 8 See Ulrich Luckhardt and Uwe M. Schneede, in her late years: as many as eleven per year are July 15, 2017. Ich, Lovis Corinth: Die Selbstbildnisse, exh. cat. documented for the period 1926 to 1936. 2 Barbara Rök, Ottilie W. Roederstein (1859– Hamburger Kunsthalle (Ostfildern-Ruit, 2004). 17 “Il était de plus en plus obsédé à l’idée qu’il 1937)—Eine Künstlerin zwischen Tradition und 9 See Einblicke vol. 2, Aspekte der Selbstbefra- n’avait plus assez de temps devant lui pour Moderne: Monographie und Werkverzeichnis, gung: Käthe Kollwitz in ihren Selbstbildnissen, peindre ou dessiner tout ce qu’il avait à dire.” Ph.D. diss. (Philipps-Universität Marburg, 1997), exh. cat. Käthe Kollwitz Museum (Cologne, Yves Calméjane, Histoire de moi: Histoire des edited by Eva Scheid and published on behalf 1998); Gudrun Fritsch, “‘Die Selbstbildnisse der autoportraits (Paris, 2006), p. 11. of the municipal administration of the city of Käthe Kollwitz’—nach Otto Nagel ausgewählt 18 Martha Sommer to OWR, April 22, 1937, Hofheim am Taunus—Stadtmuseum/Stadt- und kommentiert,” in exh. cat. Berlin 2007 Roederstein-Jughenn Archive, call no. OR 4: archiv on the occasion of the exhibition of the (see note 6), pp. 17–21. Briefe, vol. 2. same name (Marburg, 1999), cat. rais. no. 79. 10 See Frank Schmidt et al., Ich bin ich: Paula 19 Ibid., call no. OR 1: Aus meinem Skizzenbuch, The painter had made the acquain tance of An- Modersohn-Becker—Die Selbstbildnisse, vol. 1. According to Winterhalter, however, and nie Hopf, later Annie Stebler-Hopf (1861–1918) exh. cat. Paula Modersohn-Becker Museum, contrary to the date written in OWR’s hand, in the studio of Karl Gussow in Bremen (Munich, 2019). the painting had already been executed before Berlin. Together, the two young women paint- 11 See, for example, Sandro Botticelli, Portrait her trip to northern Italy in July 1935; ibid., call ers ventured the move to Paris to continue of a Young Man, ca. 1480, The National Gallery, no. OR 17: Aus meinem Skizzenbuch, vol. 3m. their training there. Whereas Hopf entered the London; Jan van Eyck, Portrait of Giovanni The great importance of this work for the studio of Tony Robert-Fleury at the Académie Arnolfini, ca. 1440, Gemäldegalerie, Staatliche artist is also evident in the fact that she had Julian, as well as that of Luc-Olivier Merson, Museen zu Berlin—Preussischer Kulturbesitz; a reproduction made of it in postcard format, Roederstein chose the ladies’ studio of Jean- Lucas Cranach the Elder, Portrait of Dr. Cuspin- which she sent out to friends and acquaintan- Jacques Henner and Carolus Duran. According ian, 1502, Oskar Reinhart Collection “Am ces; Rök 1999 (see note 2), p. 77. to Roederstein’s legacy of writings, the two Römerholz,” Winterthur. women remained in contact until at least 1910; 20 The unfinished painting is on the back of the see card of April 9, 1910 from Annie Stebler- 12 OWR to Madeleine Smith, September 16, 1891, 1918 Portrait of Hertha Charton; see Rök 1999 Hopf to OWR, Roederstein-Jughenn Archive Bibliothèque nationale de France, Manuscrits, (see note 2), cat. rais. no. 1084, Fig. 144. OWR in the Städel Museum, Frankfurt am Main, Archives de la famille Smith-Lesouëf (NAF did, however, portray several of her fellow art- acquired in 2019 as a donation from private 28416), Lettres reçues par Madeleine Smith ists at the easel, for example Norbert Schrödl holdings, call no. OR 97: Befreundete Maler. (in the following abbreviated as “BnF/Smith”), (cat. 28), Madeleine Smith (cat. 2), and Hanna vol. VIII, no. 158v/159r. Marées’s works were on Bekker vom Rath; see ibid., cat. rais. nos. 205, 3 Only one earlier self-portrait has come down exhibit in Munich in a room of their own; see 61, and 1770. Furthermore, she depicted Joan to us: on the occasion of her parents’ silver Illustrierter Katalog der Münchener Jahres- Whitehead and Jakob Nussbaum holding pal- wedding anniversary in 1881, OWR painted Ausstellung von Kunstwerken aller Nationen ettes; ibid., cat. rais. nos. 798 and 1615. portraits of herself, her sisters, brother-in-law, im kgl. Glaspalaste 1891, 3rd ed. (Munich, n.y. and nieces; Rök 1999 (see note 2), cat. rais. nos. 21 Also see, for example, the self-portrait by 1891]), pp. 169–171. 17–19, 23, 24. As the likenesses were made to Vallotton of 1908 (private ownership); see correspond to one another in terms of size, 13 “Mon petit portrait (de moi-même) est mainte- Marina Ducrey, Félix Vallotton, 1865–1925: palette, and pose, and designed to fulfill not nant solidement installé sur un de vos beaux Catalogue raisonné, with assistance from only their intended purpose as gifts but also, chevalets. J’y ai encore beaucoup à travailler Katia Poletti, 3 vols. (Lausanne, 2005), presumably, her parents’ expectations, the avant qu’il sera fini car j’ai beaucoup de peine vol. 2, no. 660. self-portrait painted in that context has been de peindre avec les couleurs tempera.” OWR 22 The motif is also encountered in a portrait excluded from this discussion of autonomous to Anne-Léontine Smith-Lesouëf, January 14, of the artist’s colleague Hildegard Lehnert self-portraits; see ibid., p. 160, Fig. 123. 1894, BnF/Smith, vol. IX, no. 4r (OWR’s ortho- of 1931; see Rök 1999 (see note 2), cat. rais. graphic errors in French were corrected 4 Fifty-five painted self-portraits are documen- no. 1540, Fig. 52. [editors’ note]; English translation by Judith ted; the rest are drawings. The fact that many 23 Clara Tobler, Ottilie W. Roederstein (Zurich Rosenthal from German translation by the of the works can no longer be found—we et al., 1929), p. 9. author). know of them only through historical photo- 24 See, for example, fig. 5 or cat. 26, as well as graphs—makes it difficult to arrive at a con- 14 Not long after her arrival in Frankfurt, the the Self-Portrait of 1932 and Self-Portrait in clusive assessment. Cat. rais. no. 817 was de- artist studied the Städel Museum’s Portrait of a Coat of 1935 (Rök 1999 [see note 2], cat. rais. stroyed in Berlin during World War II and, Cardinal Gaspar de Borja y Velasco—attributed nos. 1558 and 1686). according to information from Elisabeth at the time to Diego Velázquez—in great depth; H. Winterhalter, the artist destroyed cat. rais. see OWR to Anne-Léontine Smith-Lesouëf, 25 See, for example Alexander Leo v. Soldenhoff, no. 1654 herself; see Rök 1999 (note 2 above). November 11, 1891, BnF/Smith, vol. VIII, no. 165r. ca. 1915 (see ibid., cat. rais. no. 1023), Heinz The following year she also expres sed her en- Häberlin, 1924 (ibid., cat. rais. no. 1279), and 5 Over one hundred self-portraits by Ferdinand thusiasm about his portraits of Phillip IV in St. Arno Becker, 1935 (ibid., cat. rais. no. 1678). Hodler have come down to us; see Jura Petersburg and London; OWR to Anne- Léon- Brüschweiler, Ferdinand Hodler: Selbstbild- 26 The portrait photograph in question exists tine Smith-Lesouëf, Jeanne and Madeleine nisse als Selbstbiographie, exh. cat. Kunstmu- today in two different sets of prints, indicating Smith, Frankfurt am Main, July 1, 1892, BnF/ seum Basel (Bern, 1979), p. 7 (Hodler-Publika- that the artist ran out of the initial prints and Smith, vol. VIII, no. 208r/207v. tion, vol. 2); see also Oskar Bätschmann et al., reordered another batch from the negative, Ferdinand Hodler: Catalogue raisonné der 15 The same year she executed the Self-Portrait and thus must have attached importance to Gemälde, vol. 2: Die Bildnisse, Schweizerisches of herself in a red blouse, she presented a this particular image: one print bears the in- Institut für Kunstwissenschaft (Zurich, 2012); Self-Portrait with Beret at the Paris World Ex- scription “ATELIER BAMBERGER C. Böttcher,” online: http://www.ferdinand-hodler.ch/werke. position, a work in tempera that, showing her the other the studio’s embossed signet; see aspx?alias=hodler2 (accessed May 26, 2020). with a landscape view to one side, is strongly Roederstein-Jughenn Archive, call nos. OR reminiscent of Renaissance examples; see Rök 90 and OR photo 16.79 (with embossment). 6 See Martin Fritsch, Käthe Kollwitz: Selbstbild- 1999 (see note 2), cat. rais. no. 421. nisse—Self-Portraits, exh. cat. Käthe-Kollwitz- 27 See Christina Klausmann, Politik und Kultur der Museum Berlin (Leipzig, 2007). 16 By 1890 she had produced only three self-por- Frauenbewegung im Kaiserreich: Das Beispiel traits in all but subsequently made one every Frankfurt am Main, Geschichte und Geschlech- 7 Volker Adolphs, Der Künstler und der Tod: year, and between 1909 and 1918 two per year. ter, vol. 19 (Frankfurt am Main and New York, Selbstdarstellungen in der Kunst des 19. und OWR executed the majority of her self-portraits 1997), pp. 93–106; Karin Görner, 20. Jahrhunderts (Cologne, 1993), p. 7.

58 Ottilie W. Roederstein und Elisabeth Winter- organized by the GEDOK (Gemeinschaft no. 877, pp. 101–108, esp. pp. 107f.; Theodor halter: Frankfurter Jahre 1891–1909, Heussen- Deutscher und Oesterreichischer Künstler- Wolfensperger (introduction), in Marianne stamm- Stiftung (Frankfurt am Main, 2018); innenvereine aller Kunstgattungen, or Commu- von Werefkin 1860–1938, Ottilie W. Roeder- https://biancawalther.de/elisabeth-winterhalter nity of German and Austrian Associations of stein 1859–1937, Hans Brühlmann 1878–1911, (accessed May 29, 2020); https://geschichte. Women Artists of All Art Forms). That organi- exh. cat. Kunsthaus (Zurich, 1938), pp. 9–12, charite.de/aeik/biografie.php?ID=AEIK00780 zation had been founded in 1928 with the aim esp. p. 11. OWR supported fellow artists such as (accessed May 29, 2020). of creating better exhibition and sale opportu- Cuno Amiet, Émile Othon Friesz, Rudolf Koller, 28 See Dorothy Price, “The Splendor and Miseries nities for women artists—in an emancipatory Dora Hitz, and Nicolas Tarkhoff by of Weimar Germany’s New Woman,” in Ingrid move that corresponds to the message con- facilitating contacts for them in Frankfurt; Pfeiffer, ed., Splendor and Misery in the veyed by this particular self-portrait. see Roederstein-Jughenn Archive, call no. Weimar Republic, exh. cat. Schirn Kunsthalle 30 Ernst Benkard, “Ottilie W. Roederstein: OR 97: Befreundete Maler. Frankfurt (Munich, 2017), pp. 152–159, here In memoriam,” Frankfurter Zeitung, 34 BnF/Smith, vol. VIII, for example no. 150v or p. 155; Gioia Mori, “Die modernen Frauen November 28, 1937. 162r–163r; vol. IX, for example no. 129 r/v or von Feminapolis: Josephine Baker, Tamara de 31 For a further example, see Edvard Munch, 148v/149r. The majority of OWR’s letters date Lempicka, Helen Dryden und Konsortinnen,” Self-Portrait with Cigarette, 1895, from the years 1887–1901. in Schall und Rauch: Die wilden 20er, exh. cat. Nasjonalmuseet Oslo. 35 OWR to Pauline and Heinz Häberlin, December Kunsthaus Zürich and Guggenheim Museo 32 See Annette Seeler, “Betrachtungen zu den 15, 1934, Roederstein-Jughenn Archive, call no. Bilbao (Cologne, 2020), pp. 212–225, here Selbstbildnissen von Käthe Kollwitz,” in exh. OR 4: Briefe, vol. 2. It cannot be determined pp. 217–219. cat. Berlin 2007 (see note 6), pp. 9–16, exactly which self-portrait OWR was writing 29 The fact that here the artist chose a half-length here p. 12. about here. depiction rather than a bust also underscores 33 Tobler 1929 (see note 23), pp. 23f., 28; Julia 36 Martha Sommer to OWR, April 22, 1937, the work’s significance. It was shown in 1930 in Virginia Laengsdorff, “Die Roederstein,” in Roederstein-Jughenn Archive, call no. OR 4: the exhibition Frauen von Frauen dar gestellt, Westermanns Monatshefte, vol. 74, 1929, Briefe, vol. 2.

59 60 Cat. 18 Cat. 19 Self-Portrait Self-Portrait with 1900 Hat and Coat Oil on wood, 49 × 31.4 cm 1903 Private collection, on permanent Oil on canvas, 42 × 37 cm loan to the Stadtmuseum Private collection Hofheim am Taunus

Cat. 17 Self-Portrait with Red Cap 1894 Tempera on wood, 36 × 24 cm Kunstmuseum Basel, gift of an admirer of art in Zurich in 1936

61 Cat. 20 Self-Portrait with Brushes 1917 Tempera on canvas, 48 × 39 cm Kunsthaus Zürich, Vereinigung Zürcher Kunstfreunde, 1917 Cat. 21 Self-Portrait with Folded Arms 1926 Tempera on canvas, 55.1 × 46 cm Städel Museum, Frankfurt am Main

62 63 64 Cat. 23 Self-Portrait 1916 Oil on canvas, 51 × 40 cm David Ragusa

Cat. 22 Self-Portrait with Hat 1904 Oil on canvas, 55.3 × 46.1 cm Städel Museum, Frankfurt am Main

65 Cat. 24 Self-Portrait with Motorists’ Cap 1927 Black chalk, heightened in white, on paper, 47.5 × 37 cm Städel Museum, Frankfurt am Main

Cat. 25 Self-Portrait ca. 1934 Chalk and charcoal on paper, 43.4 × 34.4 cm Kunsthaus Zurich, Collection of Prints and Drawings, donated by Dr. R. H. Hirschi, 1943

66 67 Cat. 26 Self-Portrait with Cigarillo 1936 Oil on canvas, 46 × 33 cm Private collection

Cat. 27 Self-Portrait with Keys 1936 Oil on canvas, 105.3 × 74.6 cm Städel Museum, Frankfurt am Main

68 69 “On est fou ici” Roederstein in Frankfurt am Main and Hofheim

/ Alexander Eiling

70 71 Fig. 1 Ottilie W. Roederstein in her Parisian studio in front of her painting Miss Mosher or End of Summer 1887–89, photograph, Roederstein-Jughenn Archive in the Städel Museum

am a total stranger here, and Frankfurt is not a city where there are many painters and models,” Ottilie W. Roederstein wrote to her French friend and pupil at the time, Madeleine Smith in August 1891.¹ Roederstein had moved to Frankfurt just a few Imonths earlier, following a five-year stay in Paris and a temporary return to her native Switzerland. Compared to Paris, pulsating capital of France and the art world and a cos- mopolitan city with a population in the millions, Frankfurt was far more modest in character. In those years, the population of the old mercantile town hardly exceeded 180,000. Especially since the foundation of the German Reich, however, it had been growing rapidly, a development that went hand in hand with extensive construction activity. With the aid of foundations and corporations, the self-confident Frankfurt citizenry—and particularly the Jewish families among them—had launched a large number of ambitious prestige projects. These included a concert hall (1861), the Palmengarten (botanical garden; 1871), the zoo, complete with an affiliated society house (1875/76), the Neue Börse (New Stock Exchange; 1879), and the splendid opera house (1880). The main railroad station, at the time Europe’s largest terminal, opened in 1888, transforming the city into a hub for international goods and passenger transport. In terms of art, the city on the Main was shaped in good part by the Städelsches Kunstinstitut and its affiliated art academy, the Städelschule, which together moved into a stately new site on the Sachsenhausen bank of the Main in 1878. Following a hey- day in the mid-century, however, the school’s reputation had waned to such an extent

72 that it was on the brink of dissolution. Thus it will hardly have been what lured Roeder- stein to Frankfurt, particularly in view of the fact that she had, after all, already completed her training.² Around 1900, the town was not exactly considered the most progressive among Germany’s art and culture centers.³ Over a period of many decades, the second and third generations of Nazarenes had set the tone in matters of taste with their Christian motifs in the tradition of Italian Renaissance painting. Their last prominent exponent, Edward von Steinle, held the chair of history painting at the Städelschule until 1886. Modern trends took hold only haltingly, a state of affairs not even Gustave Courbet’s brief Frankfurt sojourn (1858/59) had been able to change. Nev- ertheless, from the late 1850s onward the Kronberger Malerkolonie (a painters’ colony) had formed around Anton Burger in the neighboring Taunus mountain region and offered something of a counterpoint to the prevailing academism. Its members produced Barbizon-style landscape depictions that had won favor with a large circle of buyers in Frankfurt and fetched handsome prices. It is ultimately impossible to determine with certainty what prompted Roederstein to move to Frankfurt, a city that, however strong economically, led a rather second-rate existence in matters of art. Artistically, a return to Paris would undoubtedly have been the far more stimulating choice. After all, she still kept her own studio there and would continue to do so until 1914. On the other hand, in Paris she had had to compete with a large number of other painters, men and women alike, for portrait commissions.⁴ She will presumably have also considered Berlin—a city familiar to her from her art student days—even if, after all she had experienced since, the conservative Prussian capital probably had little new to offer her. Roederstein had already visited Frankfurt years earlier.⁵ She was friendly with the painters Helene von Menshausen (1858–1904) and Marie Sommerhoff-Bertuch (1851–1932), both natives of the town. What is more, her brother-in-law’s brother was an industrialist based in neighboring Hanau.⁶ The fact that her life partner Elisabeth H. Winterhalter (1856–1952) had received an opportunity to open a gynecological office in Frankfurt will have been a decisive factor.⁷ As women would not be admitted to medical school in Germany until 1899, this opportunity presumably represented a unique chance for the physician Winterhalter, who had obtained her license to practice in Switzerland. A city with a reputation for a liberal attitude and openness to the women’s emancipation movement, Frankfurt thus offered favorable conditions for her development, both personally and professionally. Roederstein and Winterhalter formed a steady life partnership that would last until the artist’s death in 1937. The two women had met in Zurich in 1885 when Winterhalter was still a student. At the time, the Roederstein family had evidently ‘adopted’ the budding doctor almost like a fourth daughter. Indeed, Roederstein’s father supported her financially until she completed her studies and also gave her money to open her office in Frankfurt.⁸ It is highly likely that the relationship between Roederstein and Winter- halter also possessed a romantic component, but not even an in-depth review of the extensive estate and legacy of manuscripts provides an unequivocal answer to this question. In any case, the two women’s companionship offered them a means of escap- ing the rigid gender-specific role assignments of the late nineteenth century, which had little more than traditional marriage and motherhood to offer young women as ‘career options.’⁹

Career in Frankfurt

Roederstein had her first opportunity to show her works in her new hometown in November 1891. She exhibited four portraits at the Frankfurter Kunstverein, of which only Miss Mosher (fig. 1; cat. 10) can be identified with certainty. In 1889, she had been

73 74 awarded a second-class medal for the painting at the Paris World’s Fair, which made it a suitable means of attracting the attention of potential new customers.¹⁰ To this day, it is among the most imposing works in her œuvre; it was thus for good reason that it formed the main focus of a laudatory review of the 1891 exhibition in the Frankfurter Zeitung.¹¹ The artist had set herself the difficult task of painting a redheaded lady before a reddish background and solved it with great skill, displaying a feel for “elegant color effects” in the process. Roederstein thus presented herself to her new Frankfurt public as a successful portrait painter who had completed her training in “the studios of leading Parisian portraitists,” as the article points out. Her well- grounded instruction from Carolus-Duran and Jean Jacques Henner—an aspect emphasized again and again in the reviews of the following years—had evidently provided her with the qualifi- cations she needed to gain a firm foothold in the conservative milieu of Frankfurt’s patrician families.¹² Roederstein’s portrait of Auguste Andreas (cat. 34), commissioned as early as 1891 by the subject’s husband, Gottfried An- dreas—owner of the famous gallery Kunsthandlung J. P. Schnei- der—moreover served the artist as an effective calling card, opening doors to the innermost circles of Frankfurt society. The painting is among the Fig. 2 finest of her early Frankfurt years. Roederstein depicted her model as a seated half- Norbert Schrödl length figure in dark clothing before an undefined background, gazing attentively at the Self-Portrait with viewer. The focus is on the young woman’s face and hands. The painter added a seem- Two Dogs ingly incidental but decisive detail to her classical composition by having the subject 1900, oil on canvas, raise one index finger slightly from the hands resting on her lap. This lends the portrait 100 × 76.2 cm, Städel Museum, Frankfurt am Main a dynamic impulse that is further supported by the loosely rendered lace of the collar and sleeves. As we can gather from Roederstein’s letters to France, she thought this discreet gesture might even have been too restrained. She writes that the Frankfurters had a liking for “living” portraits that walk, eat, or talk—a peculiarity to which the artist responded with a mere uncomprehending “on est fou ici” (people here are crazy).¹³ Thanks to her technical proficiency, Roederstein was able to hold her own in the art market and stand up well to comparison with the artists who had gained appreciation for themselves in Frankfurt. Among them was Norbert Schrödl (1842–1912), to whom Roederstein sought contact shortly after moving to the Main. In 1893, she painted a portrait of Schrödl (cat. 28)—who was soon to be appointed president of the Frank- furter Künstlergesellschaft (Frankfurt Artists’ Association)—that may well have flat- tered him. In format and composition it is a prestige object exhibiting close similarities to a self-portrait by Arnold Böcklin.¹⁴ Roederstein opted for the classical trope of the artist staged in his studio with palette and brush in hand and contemplating a work in progress on his easel. Comparison with a self-portrait by Schrödl (fig. 2) of just a few years later reveals clear differences in their painterly approaches. Unlike the ‘licked’ finish of her colleague’s work, Roederstein’s brushwork is freer and more cursory. The dynamic brushstrokes in combination with a color spectrum largely limited to shades of red and brown reflect her training in the ladies’ studio of Carolus-Duran and Henner in Cat. 28 Paris. Schrödl’s work, by contrast, lies in the academic tradition of his Frankfurt teach- The Painter er Jakob Becker, which by around 1900 had become somewhat outdated. In a letter to Norbert Schrödl Madeleine Smith, Roederstein criticized her colleague’s painting style quite harshly: 1893 “Schrödl has nearly finished his portrait of young girls in Kronberg, a showy haunch of Oil on canvas, 123 × 75 cm ham without the slightest artistic flair but technically outstanding….”¹⁵ Despite their Private collection

75 Fig. 3 difference in styles, Roederstein’s contact to Schrödl by all means proved advantageous Postcard with a to her, as he had access to high-society circles in Taunus, a region near Frankfurt.¹⁶ view of Friedrich von In the years that followed, Roederstein profited from the heightened need of Frank- Metzler’s parlor furt’s well-to-do citizens for portraits depicting them in a manner befitting their sta- Frankfurt am Main, June 17, tus—a desire that brought the artist numerous commissions. Whereas in 1891 she had 1903, Roederstein-Jughenn still complained about her financial situation, by the following year it was no longer an Archive in the Städel Museum issue.¹⁷ Among those she immortalized on canvas were numerous figures from the worlds of banking, industry, and politics, for example members of the Braunfels, de Fig. 4 Neufville (cat. 29), Fellner, Grunelius, Hauck (cat. 66), Merton, Mössinger, Oppenheim, Ottilie W. Roederstein’s Stockhausen, vom Rath, von Bethmann, von Guaita (cat. 38), von Metzler, Mumm von studio in the Städelsche Kunstschule Schwarzenstein, von Schnitzler, and von Weinberg families;¹⁸ the list reads like a who’s who of Frankfurt society at the end of the nineteenth century. Roederstein cultivated Frankfurt am Main, ca. 1898, photograph, personal relationships with her portrait subjects and their families, in some cases re- Roederstein-Jughenn Archive maining friends and engaging in lively correspondence with them for decades. In 1903, in the Städel Museum for example, Friedrich von Metzler wrote a postcard to the artist exclaiming: “Is it not ‘enchantment’ that I am so relentlessly obsessed with certain works of yours at very first sight.… Believe me, if my porte-monnaie was called Mumm, or Lucius, or Albert M., I’d have a special Salon Roederstein….”¹⁹ The writer of these lines purchased three paintings by Roederstein: two portraits of himself and a still life.²⁰ On a postcard to the artist of June 17, 1903, one of the portraits can be seen in the salon rooms of his mansion in the Frankfurt Taunusanlage (fig. 3). Whereas in 1905, after Friedrich von Metzler’s death, his painting collection was auctioned by Prestel in Frankfurt, his substantial decorative arts holdings were purchased by the Kunstgewerbeverein (Arts and Crafts Association). The whereabouts of his portraits are today unknown, as is the case with the majority of likenesses Roe derstein painted of representatives of Frankfurt’s leading families. Roederstein and her partner were also welcome guests in other Frankfurt drawing rooms besides von Metzler's. They kept company with Herbert von Meister, a member of the board of directors of the Hoechst chemicals company, and Ludwig Edinger, the director of the Neurologisches Institut, and attended literary gatherings at the home of the banker Benedikt Moritz Goldschmidt.²¹ Roederstein’s numerous contacts reveal the outstanding networking skills that would secure her a good livelihood all her life. Among others, her solid connections in the Frankfurt art world proved beneficial; apart

76 Cat. 29 Aunt Daisy (Marguerite de Neufville) 1902 Red chalk on paper, 17.1 × 15.7 cm Dieter Rothhahn Collection, Frankfurt am Main from the Goldschmidt, J. P. Schneider, and Schames galleries these also included the Frankfurter Kunstverein, where, after her debut in 1891, she exhibited her works on repeated occasions.²²

Roederstein at the Städel: A Stylistic Reorientation

Having initially worked in a studio on Hochstrasse, in October 1892 Roederstein rented a workspace in the Städelschule and set up shop there in January 1893.²³ In those years the foundation overseeing the school had gradually begun to scale back its official teaching operations and rent out studios to freelance artists who could run art classes there on their own.²⁴ Roederstein’s contact to colleagues in the adjoining studios provided her painting with new impulses. A photograph of her space in the Städelschule taken around 1898 (fig. 4) shows a cross-section of her portrait painting, which underwent decisive stylistic transformation within just a few years. From the mid-eighteen-nineties onward, she was strongly inspired by works of the German and Italian Renaissance (cats. 36, 38). She composed her portraits as busts in rigorous profile or three-quarter view before landscapes or neutral backgrounds. Inscriptions in classicizing square capitals and accessories such as painters’ berets and caps (cat. 17) further emphasize the timeless quality of the depictions. It is hardly surprising that the press was quick to compare her works to examples by Hans Holbein the Younger and Antonello da Messina.²⁵ The artist’s strong

77 references to Renaissance painting are especially obvious in Girl with a Flower (fig. 5), which looks like a combination of Barto- lomeo Veneto’s Idealized Portrait of a Courtesan as Flora (fig. 6) and Altobello Melone’s Narcissus at the Fountain (fig. 7), two works the artist was familiar with from the Städel Collection.²⁶ Whereas she seems to have adopted the dainty pose of the hand and almost graphic depiction of the flower from the former, the melancholy facial expression and heavy eyelids, the wreath of flowers in the hair, and the puffy sleeves are reminiscent of Melone’s depiction of an androgynous figure still thought of as Saint Catherine at the time.²⁷ Roederstein successfully presented this painting along with three other portraits at the 1898 salon show (not to be confused with “the Salon”) of the Parisian Société nationale des beaux-arts, prompting numerous inquiries from prospective customers.²⁸ All of the four works she exhibited on that occasion had been executed not in oil but in tempera, a circum stance the painter stressed in the accompanying catalogue (“peinte à la détrempe”).²⁹ Toward the end of the nineteenth century, tempera painting had come back in vogue all over Europe. Its matt surfaces offered a marked contrast to the shiny varnished products of a style of academic Salon painting that was increasingly falling out of favor. The fact that tempera was considered simul- taneously both traditional and avant-garde inspired numerous artists—among them Puvis de Chavannes, Arnold Böcklin, and Fig. 5 Edvard Munch—to experiment with the technique.³⁰ Ottilie W. Roederstein One of the key impulses for Roederstein’s shift to tempera had come from Karl von Girl with a Flower or Pidoll (1847–1901), her first studio neighbor at the Städelschule. She was deeply im- Jeune ﬁlle à la ﬂeu pressed by his rigorous linear painting style and the timeless classicism of his portraits 1897, tempera on wood, (fig. 8). Pidoll’s declared goal was to preserve the artistic legacy of his teacher Hans von whereabouts unknown, Marées.³¹ A key element of the latter’s doctrine had been egg-tempera painting, a tech- reproduction, Roederstein- Jughenn Archive in nique Pidoll developed further through experimentation.³² Pidoll, moreover, engaged the Städel Museum in lively exchange with his fellow painter Hans Thoma, who lived near Frankfurt, and conveyed his findings not only to Roederstein but also to his pupils Wilhelm Altheim, Fritz Boehle, Albert Lang, and Ernst von Sachsen-Meiningen.³³ The fact that Roeder- stein turned to the circle around Pidoll for orientation meant a departure from the painting style she had learned in Paris. In her work, the drawing-based, contour- emphasizing style typical of tempera now replaced the atmospheric chiaroscuro approach of Henner and Carolus-Duran, whose virtuoso brushwork softened transitions and outlines in sfumato-like manner. Using a thin brush, she carefully applied the paints in fine clusters of parallel strokes. For the most part she reduced her palette to just a few tones that tie the elements of the pictorial space together to form a harmonious whole. Still adhering to the Renaissance ideal of controlled emotion, she depicted her models in calm introspection, not allowing any stronger feelings to become visible beneath the poised surface. The inspiration Roederstein took from the Old Masters is also reflec ted in her use of wood as a support material, as in the case of her portrait of Clara Stockhausen-Toberenz (fig. 9), who—entirely after Pidoll’s example—she depicted in rigorous profile before a structured background. The sitter was the wife of Julius Stockhausen,³⁴ a famous singer, voice instructor, and onetime teacher at the Dr. Hoch’sches Konservatorium in Frankfurt. The artist and her partner were close friends of the Stockhausens and frequent invitees to the family’s house concerts.

78 Foray into a Male Domain: Religious Paintings

Roederstein did not content herself with portrait painting, however, a field whose prac- Fig. 6 tice by women artists was traditionally considered acceptable, but expanded her subject Bartolomeo Veneto matter to include heroic allegorical material (cat. 45) and religious motifs, two genres Idealized Portrait of a then still very much the preserve of her male colleagues. Her religious works include two Courtesan as Flora versions of Ishmael³⁵ (p. 30, figs. 9 and 11), aMary Magdalene at the Foot of the Cross ca. 1520, mixed technique on (cat. 32), The Daily Bread,³⁶ and the Christ scene Let the Little Children Come unto Me poplar, 43.6 × 34.6 cm, Städel Museum, Frankfurt am Main (cat. 30). In the last-named painting she combined a depiction of the Savior with children (in the collection since 1872) dressed in contemporary garb, an innovation for which Fritz von Uhde’s 1884 work with the same title can be seen as an inspiration (fig. 10).³⁷ As compared to Uhde’s large-scale Fig. 7 history painting, which won him several awards, Roederstein’s scene is thoroughly inti- Altobello Meloni mate in character. Refraining from any closer definition or embellishment of the sur- Narcissus at the Fountain rounding space, she concentrated entirely on Christ’s touching encounter with the chil- ca. 1510/11, oil on poplar, dren. The allusions to Uhde were presumably no coincidence. Throughout her career, 39.7 × 35.3 cm, Städel Museum, Roederstein kept a close watch on the art market and was well informed about success- Frankfurt am Main (in the ful compositions and trends. As a freelance artist who had to do without substantial collection since 1840) financial backing from her family, she had to rely on the sale of her works and accordingly took orientation from sought-after themes and styles. This also applies to her most ambitious undertaking in the field of religious painting, a large-scale Pietà (cat. 33). Here as well, the artist took cues from well-known compositions. From 1876 onward, her teacher Henner had executed several paintings of the dead Christ, including a Pietà he presented in 1891 at the Salon des artistes français.³⁸ For her own work, Roederstein chose a wide horizontal format showing the Savior’s emaciated corpse stretched out on a white cloth. In a dark blue cloak, Mary leans over her dead son, wearing an expression of profound mourning. The stem of the cross is discernible before the deep black horizon in the background. Roederstein makes overly clear reference here to the composition of Holbein’s famous painting Dead Christ Entombed in the Kunstmuseum Basel, a work which virtually served as a canonical model for numerous Pietà depictions in the late nineteenth century.³⁹ A case in point is the painting by Franz von Stuck (fig. 11), an interpretation of the motif with which contemporary critics repeatedly compared Roederstein’s work.⁴⁰ Stuck’s Pietà did not enter the Städel Collection until 1906, but thanks to various major exhibitions (Munich, 1892; Berlin, 1894; Venice, 1895; Zurich, 1896) it had already achieved a certain popularity by the time Roederstein tackled the subject.⁴¹ The similarities thus did not come about by chance: Roederstein will have been acquainted with Stuck’s

79 painting. Her version, however, is more intimate than his rather aloof interpretation. Her Mary is not a faceless mourner standing at a distance, but a caring mother who, deeply moved, grieves the death of her son. Roederstein painted the work of her own accord and exhibited it several times, as if to offer proof of her competence in a field of painting still dominated by men in her day.⁴²

Women’s Education

To judge from contemporary reviews, Roederstein only rarely met with resistance to her foray into the realm of religious motifs. The critics either unwittingly took her work to be that of a man⁴³ or went to the trouble of pointing out that there was “nothing womanish” about the painting.⁴⁴ The latter response testifies to the prejudice with which the world of men generally reacted to women artists, whom they hardly considered capable of working creatively. Roederstein accordingly tended to present herself in her self-portraits in emphatically male demeanor with a serious and reflective gaze, her arms folded, or even in the act of smoking (cats. 20, 21, and 26). As a further way of overcoming gender-specific role assignments, she showed herself in markedly coarse clothing.⁴⁵ Among other things, she was thus responding to ongoing discrimination against women in the area of academic training. Women were not admitted to German art academies until 1919. The only means of training as a professional painter was to take expensive private lessons from male artists who, however, offered only a limited curriculum.⁴⁶ In her studio space at the Städelschule, Roederstein offered instruction primarily for young women from 1893 to 1911. Her pupils were for the most part the daughters of the city’s bourgeois elite, among them Mathilde Battenberg, Jenny Fleischhauer, Fig. 8 Emma Kopp, Pauline Kowarzik, Julia Virginia Laengsdorff, Erna Pinner, Marie Swarzenski, Karl von Pidoll Sophie Wirth, and, in later years, Hanna Bekker vom Rath.⁴⁷ Roederstein thus created a Portrait of Anna kind of win-win situation for herself, because she also profited from these contacts as a Cossmann in front of means of expanding her clien tele among the upper classes of Frankfurt. Even if in most the Ca’ d’Oro in Venice cases she initially did not reckon with finding much talent among her pupils, she attached 1894, mixed technique on special importance to fostering women.⁴⁸ Until the outbreak of World War I, she kept a wood, 72.3 × 50.5 cm, Städel Museum, Frankfurt am Main, studio in Paris where she would spend several months every year;⁴⁹ when she was not property of the Städelscher there, however, she repeatedly placed it at the disposal of women artists seeking to fur- Museums-Verein e.V. ther develop their skills in the French capital, for example Ida Gerhardi (fig. p. 183) and (in the collection since 1901) Bertha Voigtländer-Hildebrand. She devoted special attention to gifted pupils such as the painter Joan Whitehead, who lived in Switzerland, or recommended them to colleagues for further training: after her lessons with Roederstein, for instance, Hanna Bekker vom Rath went to Stuttgart to study with Adolf Hölzel and Ida Kerkovius.⁵⁰ Roe- derstein was moreover a member of the mainboard of the Frauenkunstverein (Women’s Art Association), an organization founded in Frankfurt in 1913 that advocated professional training and exhibition opportunities for women artists. Roederstein’s partner Elisabeth Winterhalter, was even more dedicated to the struggle for girls’ and women’s education. As a physician, she had profited substantially from the support of a male colleague, the gynecologist Carl Stahl, and Max Hirschberg, head physician of the surgery department at the Israelitisches Krankenhaus (the hospital

80 of the Jewish community) in Frankfurt. Quite soon after her arrival in the city (1893), she established a polyclinic for gynecology at Eschenheimer Anlage 4–8 which would become a go-to address for prominent women’s rights activists from all over Germany. In 1895 she was granted the opportunity to be the first woman gynecologist in Germa- ny to perform a lapa rotomy as well as to carry out research in collaboration with Lud- wig Edinger at the Senckenbergisches Institut. Winterhalter’s medical degree was valid only in Switzerland, which meant that in Germany she was initially compelled to practice her profession in a legal gray area. After women were admitted to medical studies in 1902, she therefore decided to repeat all the necessary exams. She enrolled at Universität Heidelberg at the age of forty-seven and in 1904 received her license to practice as a gynecologist and obstetrician in Germany. Personal experience had thus made her painfully aware of the need to promote education for women. In 1898, she accordingly helped to found a local chapter of the society Frauenbildung—Frauenstudium (Women’s Edu- cation—Women’s University Study), dedicated to the establishment of secondary school courses for girls to pave their way to higher education. It was through the joint efforts of Winterhalter, Countess Gabriele von Wartensleben (fig. p. 181)—a friend of Winterhalter and Roederstein—and the social-policy expert Meta Hammerschlag (cat. 76) that girls in Frankfurt gained the opportunity to qualify for university study, and, with it, access to professions from which they had previously been excluded.⁵¹

Move to Hofheim

In 1907, the two life partners—both meanwhile established in their professions and financially independent—decided to settle in Hofheim, a town some twenty kilometers from Frank- furt. To this end they purchased a large piece of land at the foot of the Kapellenberg Fig. 9 and had a house built on it by the Frankfurt architect Hermann A. E. Kopf, shortly there- Ottilie W. Roederstein after adding, as was Roederstein’s wish, a separate studio building and a gardener’s house Clara Stockhausen- (figs., pp. 184 and 185).⁵² The peacefully situated Hofheim had the advantage of a rail con- Toberenz nection to Frankfurt. The two women were thus able to escape the hustle and bustle 1895, tempera on wood, of town life without losing touch with the social and cultural infrastructure of the city 44 × 31.5 cm, private collection on the Main. By the time they moved in 1909, Roederstein’s work had undergone a number of stylistic changes and she had expanded her repertoire of motifs. A hand injury she suffered in 1901 initially made it difficult for her to continue tempera painting in the finely detailed manner à la Pidoll, leading her to practice a loose, sketchy, impressionist-like mode of brushwork in oil for a time (cats. 22 and 51).⁵³ It was also in this phase that she joined the Frankfurt-Cronberger Künstlerbund, a secessionist movement founded in 1902 with the aim of establishing French impressionistic plein-air painting in Germany.⁵⁴ Roederstein’s involvement in this loosely organized artists’ association—whose members included Ferdinand Brütt, Rudolf Gudden, Paul Klimsch, Jakob Nussbaum (cat. 51), Wilhelm Trübner, and others—ended around the time of her move to Hofheim as the group dissolved in 1909/10. What would remain from those years in her canon of artistic motifs, however, were depictions of interiors and still lifes (cats. 56 and 79). Particu- larly the latter genre would take on a key role in the artist’s late work.

81 Fig. 10 Roederstein’s years in Hofheim—1909 to 1937—were extremely productive ones. Her Fritz von Uhde biographer Hermann Jughenn recorded 981 paintings and drawings, including seventy- Let the Little Children nine portraits of citizens of Hofheim.⁵⁵ The fact that Roederstein ceased her teaching Come unto Me activities at the Städelschule and was now able to concentrate entirely on her own artis- 1884, oil on canvas, tic work offers a possible explanation for this tremendous output. What is more, Winter- 188 × 290 cm, Museum der halter took charge of the organization of the household, complete with its servants and bildenden Künste, Leipzig gardeners, and the management of their income, leaving Roederstein with a freer hand for her artistic pursuits.⁵⁶ Roederstein’s partner abandoned her medical practice in 1911 on account of increasing deafness. In the small-town society of Hofheim, the two women’s alternative lifestyle and financial independence must have been unusual. They cultivated numerous contacts, especially in France and Switzerland, and received visitors with according regularity, among them Roederstein’s abovementioned longstanding friend Madeleine Smith and her sister Jeanne, but also Ida Gerhardi and Cuno Amiet. What is more, Roederstein and Winterhalter undertook many a journey abroad (to Alge- ria and Tunisia, Belgium, England, Italy, and Spain, as well as a trip around the Mediterra- nean from Marseille to Israel and tours of the Swiss Alps), to which numerous photo albums testify.⁵⁷ The upheavals of World War I brought many of these contacts to a standstill. Roe- derstein was compelled to give up her Paris studio once and for all. In 1917 she carried out a number of portraits in an East Asian manner, of which some were free inventions, others paraphrases of previously executed paintings (cats. 58). She had in her possession a series of Japanese woodblock prints that may have served her as inspiration.⁵⁸ The Japonist abstraction of the portrait of her friend Fritz von Hochberg (cat. 59) further heightened the already existing emphasis on contours in her work, in a mode of painting that avoids working up the figure in any great detail and tends toward the decorative. Her works profited from this brief intermezzo in that it introduced a new emphasis on the graphic disposition of her portraits (cat. 67). The application of the paint Cat. 30 became ever thinner, allowing the structure of the support material to show through, a Let the Little Children circumstance explained by the wartime scarcity of painting materials. In some cases, Come unto Me the artist merely drew the outlines of her subjects on the canvas with charcoal without 1893 Oil on canvas, ca. 106 × 87 cm subsequently filling them in in color (cat. 71).⁵⁹ Presumably owing to the fact that orders Private collection, Hofheim from customers in France and Germany had come to a halt, she now devoted herself

82 83 Fig. 11 increasingly to allegorical depictions—personifications of pain, anguish, sorrow, resig- Franz von Stuck nation, and other emotions (cats. 65 and 68). Because they were not commissions, Pietà Roederstein took great liberties in the designs of these compositions, thus proving ca- 1891, Oil on canvas, pable of producing striking testimonies to a society traumatized by war and suffering, 95.5 × 179 cm, Städel Museum, as found in comparable form in the works of Käthe Kollwitz. The matt, soft hues and Frankfurt am Main (in the collection since 1906) large uniform color zones, on the other hand, reveal an indebtedness to the works of her Swiss friend and fellow artist Ferdinand Hodler, which she studied intensively in this period (cat. 55).⁶⁰ Citizens of Hofheim such as Juliane Hoppe or Roederstein’s close friend Emma Kopp stood model for the striking faces in these works (fig. p. 186). Kopp had moved to a house not far from the artist’s in 1911, and until well into the 1930s was the subject of many of Roederstein’s likenesses as well as the protagonist of various role portraits (cats. 68 and 70). After the war, Roederstein exhibited her works on several occasions in Frankfurt, while at the same time engaging in efforts to heighten her presence in Switzerland. She had obtained Swiss citizenship in 1902, but even before that had identified as a Swiss Confederate, a sentiment she underscored in 1920 with a donation of sixteen paintings by modern French and Swiss artists from her collection to the Kunsthaus Zürich.⁶¹ Thanks to contacts in her native Switzerland, she was able to compensate for the loss of customers brought about by the precarious economic situation in postwar Germany. In fact, through her Zurich connections she continued to receive portrait commissions from private persons and politicians throughout the twenties, the Great Depression, and into the thirties (cat. 77).

The Late Years

Through Hanna Bekker vom Rath (cat. 54), who settled permanently in Hofheim in 1928, Roederstein came in contact with numerous exponents of Expressionism, for example Alexej von Jawlensky (cat. 75), Oskar Kokoschka, Ludwig Meidner, Ernst Wilhelm Nay, Emy Roeder, and Karl Schmidt-Rottluff. They were all guests at the “Blaues Haus” at Kapellenstrasse 11 that Bekker vom Rath had transformed into a gathering place for contemporary artists. Roederstein was nevertheless relatively impervious to the

84 Expressionist influence in her work. For the most part she remained loyal to her prosaic style, which was fashionable again in the twenties owing to the emergence of New Objectivity. Unlike her contemporaries Otto Dix, Karl Hubbuch, Rudolf Schlichter, and others, however, in her commissioned portraits she refrained from the exaggerated typ- ification of her subjects. By the end of the decade, Roederstein was a nationally and internationally celebrated name in painting and the recipient of numerous honors. In 1929, on the occasion of her seventieth birthday, the Frankfurter Kunstverein mounted a special exhibition of twenty-eight works of hers dating from the previous ten years. The artist was awarded the badge of honor of the city of Frankfurt and honorary citizenship of Hofheim. Her wors- ening health, however, and the rise of National Socialism took their toll on her. She was appalled to see the many Jews among her friends made victim of increasing disfranchisement and humiliation.⁶² Between 1933 and 1937, she nevertheless tried to come to terms with the new authorities. To ensure that she could continue her artistic activities, she joined the Reichskammer der bildenden Künste (Reich Chamber of Fine Arts). Her portraits of uniformed representatives of the Third Reich⁶³, her participation in the Kraft durch Freude (Strength through Joy) exhibition hosted by the Frankfurter Kunstverein in 1934, and her efforts to take part in the Grosse Deutsche Kunstausstellung (Great German Art Exhibition) in Munich all bear witness to a sense of pragmatism that did not shun a certain acceptance of the system.⁶⁴ Until her death on November 26, 1937, Roederstein remained highly productive as an artist and interested in what went on in the art world. As late as October of that year, she visited the World’s Fair in Paris and enthusiastically reported to Elisabeth Winter- halter that she was planning to go to an exhibition of “very modern Frenchmen.”⁶⁵ The breadth and quality of her œuvre is clearly reflected in the major memorial exhibitions staged by the Frankfurter Kunstverein (fig. p. 191) in 1938 as well as by the Kunsthaus Zürich and the Kunsthalle Bern. Thereafter, her work only went on view on a large scale in a commemorative exhibition set up by Winterhalter and Jughenn in her former studio building. The guest book of the years 1938 to 1944 (fig. p. 190) records a number of prominent guests, including Emy and Karl Schmidt-Rottluff, the Expressionist collector Carl Hagemann of Frankfurt, who visited the exhibition with Ernst Ludwig Kirchner’s widow, Erna Kirchner, and the Städel director Ernst Holzinger.⁶⁶ It was not until the eighties that Ottilie W. Roederstein’s œuvre once again became accessible to a broader public. However, until now, it has never enjoyed the international appeal it once held during her lifetime.⁶⁷

85 1 OWR to Madeleine Smith, August 23, 1891, executed in Paris in 1890; see Rök 1999 Rhein-Main-Gebiet: Künstler, Händler, Sammler, Bibliothèque nationale de France, Manuscrits, (see note 8), cat. rais. nos. 93 and 136. See exh. cat. Museum Giersch, Frankfurt am Main Archives de la famille Smith-Lesouëf (NAF Roederstein-Jughenn Archive, call no. OR 32, (Petersberg, 2011), pp. 217–23, here pp. 220–22. 28416), Lettres reçues par Madeleine Smith Biografie, vol. 1. OWR verifiably exhibited at the Frankfurter (abbreviated in the following as “BnF/Smith”), 11 Anonymous, “Kleines Feuilleton,” Frankfurter Kunstverein in 1891 as well as in 1899–1902, vol. VIII, no. 151v. Zeitung, November 27, 1891; see Roederstein- 1904–08, 1910–14, 1925, 1928–30, 1932, 2 On the Städelschule, see Andreas Hansert, Jughenn Archive, call no. OR 115. and 1934. Geschichte des Städelschen Museums-Vereins 12 Anonymous, “Ausstellungen und Sammlungen,” 23 Lease between the Städelsches Kunstinstitut Frankfurt am Main (Frankfurt am Main, 1994), Die Kunst für Alle: Malerei, Plastik, Graphik, administration and Ottilie W. Roederstein pp. 24–29. Architektur, no. 13, 1897/98, pp. 91–94, for studio no. 40 and the adjoining room 40 a, 3 See Barbara Rök, “Die bedeutende Individu- here pp. 91–92. Frankfurt am Main, October 22, 1892, Städel Archive, call no. 314. alität unter den weiblichen Malern in Frankfurt: 13 “On me crois si forte à Francfort que le peuple Ottilie W. Roederstein und ihr Weg in die veut des portraits vivants lesquels marchent, 24 “To my knowledge it is the wish of the admin- Unabhängigkeit,” in Susanne Wartenberg mangent et parlent, on est fou ici… [People istration to have capable masters at the insti- and Birgit Sander, eds., Künstlerin sein! Ottilie in Frankfurt think I’m so good that they want tute; the school is no longer as important to W. Roederstein, Emy Roeder, Maria von Hei- living portraits—ones that walk, eat, and talk; them, and now they already have Schrödl; der-Schweinitz, exh. cat. Museum Giersch, people here are crazy].” OWR to Jeanne and Miss Röderstein also rented a few days ago; Frankfurt am Main (Petersberg, 2013), pp. 9–19, Madeleine Smith, October 21, 1892, BnF/Smith, Mr. v. Pidoll is also there.” Hans Thoma to Henry here p. 9; on the situation of artists in Frank- vol. VIII, no. 247v. [Editor’s note: OWR’s spell- Thode, November 16, 1892, in Hans Thoma, furt in general, see Ester Walldorf, “Kunst und ing errors in French have been corrected; un- Briefwechsel mit Henry Thode (1889–1920), Künstler in Frankfurt zwischen 1867 und 1918,” less otherwise indicated, that also applies to edited by Joseph August Beringer (Leipzig, in Kunstlandschaft Rhein-Main: Malerei im 19. the other quotations in this text.] 1928), pp. 42–43. Jahrhundert. 1867–1918, exh. cat. Haus Giersch, 14 Arnold Böcklin, Selbstbildnis im Atelier, 1893, 25 Anonymous 1897/98 (see note 12), pp. 91–92. Museum Regionaler Kunst (Frankfurt am Main, oil on canvas, 120.5 × 80.5 cm, Kunstmuseum 26 Roederstein’s painting also displays distinct 2001), pp. 37–57. Basel, in that collection since 1893; Rök 1999 parallels to Holbein’s Portrait of Simon George 4 See Roederstein-Jughenn Archive in the Städel (see note 8), p. 107. of Cornwall in the Collection of the Städel Museum, Frankfurt am Main (in the following 15 “Chez Schroedl à Cronberg son portrait des Museum. abbreviated as “Roederstein-Jughenn Archive”), jeunes filles était presque fini, une véritable 27 Jochen Sander and Freiherr Rudolf Hiller von call no. OR 6, 1889-10. croûte de décoration sans le moindre senti- Gaertringen, eds., Italienische Gemälde im 5 OWR to Jeanne and Madeleine Smith, July 6, ment artistique, mais il y avait une technique Städel 1300–1550: Toskana und Umbrien, coll. 1889, BnF/Smith, vol. VIII, no. 70v. là-dedans étonnante mille fois trop habile….” cat. Städel Museum, Frankfurt am Main (Mainz, 6 Roederstein-Jughenn Archive, call no. OR 31, OWR to Madeleine Smith, September 8, 1892, 2004), pp. 172–86. Biografie, vol. 1. BnF/Smith, vol. VIII, no. 228v. 28 The other works shown on this occasion are: 7 Winterhalter’s gynecological office was initially 16 Schrödl gave painting lessons to the widow Rök 1999 (see note 8), cat. rais. nos. 348, 358, in the hospital of the Vaterländischer Frauen- of Emperor Friedrich III, Victoria of Prussia, and 424. verein, founded a few years earlier (present- who had settled in her newly constructed 29 Catalogue des ouvrages de peinture, sculpture, day Maingau-Krankenhaus); Roederstein- Friedrichshof Castle near Kronberg in 1894. dessins, gravure, architecture et objets d’art Jughenn Archive, call no. OR 32, Biografie, vol. 1. Around 1896, OWR executed a portrait and exposés au Champ-de-Mars le 25 avril 1896, 8 Barbara Rök, Ottilie W. Roederstein (1859– a bookplate for “Empress Friedrich”; see Rök exh. cat. Salon de la Société nationale des 1937)—Eine Künstlerin zwischen Tradition und 1999 (see note 8), cat. rais. nos. 306 and 326. beaux-arts, Champ-de-Mars (Paris, 1896), Moderne: Monographie und Werkverzeichnis, 17 “J’ai de nouveau une commande en vue pour nos. 1066–70. Ph.D. diss. (Philipps-Universität Marburg, 1997), le retour de mon séjour de Paris. Je suis heu- 30 On the revival of tempera painting in general, edited by Eva Scheid and published on behalf reuse car pour 92 il ne faut pas avoir peur de see Karoline Beltinger and Jilleen Nadolny, of the municipal administration of the city of faire des dettes si je reste en bonne santé Painting in Tempera, c. 1900, Swiss Institute Hofheim am Taunus—Stadtmuseum/Stadtar- [I have another new commission in sight for for Art Research (Zurich, 2016). chiv on the occasion of the exhibition of the after my return from my stay in Paris. I’m 31 In the pursuit of this aim, Karl von Pidoll pub- same name (Marburg, 1999), p. 38. happy because for ’92 I no longer have to lished the work Aus der Werkstatt eines Künst- be afraid of making debts as long as I remain 9 Other women artists among Roederstein and lers: Erinnerungen an den Maler Hans von in good health].” OWR to Madeleine Smith, Winterhalter’s friends likewise chose this ar- Marées aus den Jahren 1880–81 und 1884–85 January 25, 1892, BnF/Smith, vol. VII, no. 200v. rangement, which presented itself to women (Luxembourg, 1890), pp. 53–59. of the late nineteenth century as an ‘alterna- 18 Jughenn lists 116 Frankfurt families that com- 32 See Roman Zieglgänsberger, Karl von Pidoll: tive lifestyle,’ for example Louise Breslau and missioned 251 works by OWR; Roederstein- Das Leben und das Werk (Frankfurt am Main, Madeleine Zillhardt as well as Martha Stettler Jughenn Archive, call no. OR 33, Biografie, 2005), p. 81. and Alice Dannenberg, who lived in life part- vol. 2. 33 Roederstein-Jughenn Archive, call no. OR 32, nerships in Paris, as well as Agnes Bluhm and 19 Friedrich von Metzler to OWR, July 1, 1903, Biografie, vol. 1. Adrienne Hacker in Berlin. It was also called a Roederstein-Jughenn Archive, call no. OR 26. “Boston marriage” owing to the large number 34 See Ottilie W. Roederstein, Portrait of Julius 20 Rök 1999 (see note 8), cat. rais. nos. 515 and of relationships of this kind in New England; Stockhausen, 1893, oil on canvas, 50 × 37 cm; 516. It has not been possible to identify the see Joey Horsley and Luise F. Pusch, eds., Rök 1999 (see note 8), cat. rais. no. 188. still life. Berühmte Frauenpaare (Frankfurt am Main, 35 Ibid., cat. rais. nos. 67 and 107. 2005), pp. 8–9. 21 Karin Görner, Ottilie W. Roederstein und Elisabeth Winterhalter: Frankfurter Jahre 36 Ibid., cat. rais. no. 195. 10 Moreover at the Frankfurter Kunstverein 1891–1909, Heussenstamm-Stiftung (Frankfurt Roederstein probably presented the following 37 Sarah Hoke, Fritz von Uhdes “Kinderstube”: am Main, 2018); pp. 27, 39. works: the portrait Madame Monnier Roeder- Die Darstellung des Kindes in seinem Spiel- und stein had exhibited at the Paris Salon of 1888, 22 On the gallery of Marcel Goldschmidt, see Wohnmilieu (Göttingen, 2011), p. 37. which had awarded her a “mention honorable” Andreas Hansert, “Frankfurter Kunsthandel 38 See Rök 1999 (see note 8), p. 208. for it, and a pastel of Elisabeth Winterhalter in der Moderne,” in Expressionismus im

86 39 Hans Holbein the Younger, Dead Christ 48 “Madame Bertuch et moi nous avons 4 élèves Belgium, 1902, see ibid., call no. OR Foto 17; Italy, Entombed, oil and tempera on limewood mais personne m’intéresse [Madame Bertuch 1895 and 1904, see ibid., call no. OR Foto 26; panel, 30.5 × 200 cm, Kunstmuseum Basel, inv. and I have 4 pupils, but none of them interest Mediterranean, 1929, see ibid., call no. OR Foto no. 318. She would have found a further exam- me].” OWR to Madeleine Smith, November 17, 11; Switzerland, 1898, see ibid., call no. OR Foto ple in the collection of the Louvre: Philippe de 1893, BnF/Smith, vol. VIII, no. 296v. And: “Mes 19. The trips to Spain and England are docu- Champaigne, The Dead Christ on His Shroud, élèves n’intéresse même pas moi alors à quoi mented only in letters. ca. 1654, oil on canvas, 68 × 197 cm, Musée du bon d’en parler [My pupils don’t interest even 58 See the contribution by Eva-Maria Höllerer in Louvre, Paris, inv. no. 1128. me, so why should one talk about them].” OWR this publication, pp. 110–26, here 125, fig. 13. to Madeleine Smith, January 16, 1895, BnF/ 40 “In Röderstein’s works one can sense that she 59 Another example is: Rök 1999 (see note 8), cat. Smith, vol. IX, no. 40v. sought to fulfil herself not only with the style rais. no. 1122. of the greats but also with their spirit before 49 See the contribution by Sandra Gianfreda in 60 See the contribution by Eva-Maria Höllerer in pressing her own perceptions and sensibilities this publication, pp. 20–35, here p. 32. this publication, pp. 110–26, here pp. 115–18. into the drawing utensil and the brush. Holbein 50 Marian Stein-Steinfeld, Hanna Bekker vom 61 See the contribution by Sandra Gianfreda in and the names of the older Italian masters are Rath—Handelnde für Kunst und Künstler: this publication, pp. 154–65, here p. 159. what involuntarily come to one’s lips when one Biografie der Malerin, Mäzenin, Sammlerin immerses oneself in Röderstein’s Pietà. As is und Vermittlerin, vol. 16: Schriftenreihe der 62 “I have many Jewish friends and see how end- so often the case, this motif is not one that has Frankfurter Bürgerstiftung, edited by Clemens lessly they are suffering from the humiliation been treated by our youngest in recent years! Greve (Frankfurt am Main, 2018). they are subjected to…. The future as I see it is Perhaps the Stuckian painting ranks first distressingly black.” OWR to Pauline Häberlin, 51 The first seven girls took their school-leaving among them, but it cannot be said to possess April 3, 1933, Roederstein-Jughenn Archive, examinations at Frankfurt’s Schillerschule in the simple grandeur of the Rödersteinian call no. OR 04, Briefe, vol. 2b; see Rök 1999 1911. See Görner 2018 (see note 21), p. 24, and, Pietà.” Giessener Anzeiger, 1897. And another (see note 8), pp. 73–74. most recently, the article by Bianca Walther author remarks: “In this composition lies an on Elisabeth Winterhalter, “Die Ärztin, der 63 Rök 1999 (see note 8), cat. rais. nos. 1685, 1733, energy of the simplification of form, a force die Frauenbewegung vertraute: Dr. med. 1775. of expression that has nothing at all womanish Elisabeth Winterhalter (1856–1952),” about it, and the fact that one is reminded 64 On the occasion of Roederstein’s seventy-sev- https://biancawalther.de/elisabeth-winterhal- of similar creations by artists like Holbein, enth birthday, an article appeared in the Höch- ter/ (accessed June 22, 2020). Böcklin, and Stuck in no way detracts from the ster Kreisblatt referring to her artistic activi- appreciation for this painting.” Neue Züricher 52 On the house’s architecture and interior deco- ties during the Nazi period: “She also gave the Zeitung, no. 1, January 1, 1898; both quoted ration, see Wohnungskunst—Das bürgerliche new Germany her art. The portrait of an SA from Roederstein-Jughenn Archive, call no. Heim: Illustrierte Halbmonatshefte für man decorates her studio, and for Hofheim’s OR 23. Wohnungskunst, Innenarchitektur und Kunst- new juvenile shelter she created a striking gewerbe, vol. 1, 1909/10, year 1, second May life-size figure of a Hitler Youth raising his 41 See Hans-Joachim Ziemke, Städelsches Kunst- issue, p. 63, first October issue, pp. 253–60, arm in a Führer salute.” Höchster Kreisblatt, institut Frankfurt am Main: Die Gemälde des 19. and second October issue, pp. 257–78. Main-Taunus- Zeitung, April 22, 1936, Roeder- Jahrhunderts, coll. cat. Städelsches Kunstinsti- stein-Jughenn Archive, call no. OR 115. tut, vol. 1: Textband (Frankfurt am Main, 1972), 53 According to Jughenn, Roederstein injured her p. 403; Rök 1999 (see note 8), p. 210, note 25. wrist on a razor protruding beyond the edge of 65 “Only tomorrow Madeleine is coming with me a table. The injury was so severe that she was to see the French exhibition again, and in the 42 Exhibitions: 1897: Kunstsalon J. P. Schneider, unable to work for months. The nerve fibers morning I plan to visit Stettler, get money, pay Frankfurt am Main; 1897/98: Ständige Ausstel- had been severed, such that the hand was my regards to Gabri, ask after Nourse, and visit lung moderner Kunstwerke: X. Serie 1897 “paralyzed and atrophied.” Only long after- an exhibition of very modern Frenchmen for (Weihnachts-Ausstellung), Künstlerhaus, Zu- ward, “after laborious care,” was she able to an hour. Then the day tomorrow will be quite rich; 1899: Kunstsalon Keller und Reiner, Berlin; paint again; Roederstein-Jughenn Archive, full.” OWR to EW, Paris, October 14, 1937, 1900: Museum Wiesbaden. See Material- call no. OR 33, Biografie, vol. 2. Roederstein-Jughenn Archive, call no. OR 38. sammlung Werkverzeichnis Hermann Jughenn, Roederstein-Jughenn Archive, call no. OR 8, 54 See Rök 2013 (see note 3), p. 13; on the orga- 66 Ibid., call no. OR 98, Besucher des Ateliers 1897-3. See OWR to Madeleine Smith, undated nization in general, see Manfred Grosskinsky, O. W. Roederstein. See Ernst Holzinger to [May 28, 1895], BnF/Smith, vol. VIII, no. 50/51. “Der Frankfurt-Cronberger Künstlerbund,” in Elisabeth Winterhalter, May 5, 1944: “How sad Rebentisch/Hils-Brockhoff 2003 (see note 47), that Ottilie Roederstein’s studio, that so very 43 “Aus Berliner Kunstsälen,” Berliner Neueste pp. 11–38. beautiful and dignified place of commemora- Nachrichten, December 2, 1899; see Roeder- tion, must now be vacated.” Donation from stein-Jughenn Archive, call no. OR 23. 55 See Werkverzeichnis Hermann Jughenn, Roe- Gerhard Wulz to the Roederstein-Jughenn derstein-Jughenn Archive, call no. OR 11–19. 44 See coll. cat. Frankfurt 1972 (see note 41). Archive, call no. OR 161. From 1945 to 1952, For the period 1909 to 1927, Barbara Rök lists Roederstein’s former studio was rented out 45 See the contribution by Barbara Rök in this 1001 works in her cat. rais.; Rök 1999 (see note to the painter Ernst Wilhelm Nay. After 1952 publication, pp. 48–59, here pp. 55ff. 8), cat. rais. nos. 797–1797. On Hermann Jug- and into the seventies it was used by the 46 See the contribution by Sandra Gianfreda henn in general, see the contribution by Iris painter Siegfried Reich an der Stolpe. in this publication, pp. 20–35, here p. 23. Schmeisser in this publication, pp. 166–73. 67 Ottilie W. Roederstein (1859−1937): Eine 47 See Inge Eichler, “Der schwierige Weg der 56 On this topic, Jughenn relates: “She [OWR] Malerin in Hofheim, exh., mounted by the Frankfurter Malerinnen an die Staffelei,” in once told me: ‘I never have money; when I need magistrate of the city of Hofheim and the Dieter Rebentisch and Evelyn Hils-Brockhoff, some, I go to Hans [Winterhalter]. And I hardly Kunstverein Hofheim e.V., November 2–23, eds., Kunst und Künstler in Frankfurt am Main know where my paintings have gone. Not that 1980. A major retrospective was later presented im 19. und 20. Jahrhundert, vol. 69: Archiv für it matters.’” Quoted in Hermann Jughenn, “Ot- in connection with the scholarly reappraisal of Frankfurts Geschichte und Kunst (Frankfurt tilie Wilhelmine Roederstein, Leben und Werk,” the œuvre by Barbara Rök: Ottilie W. Roe der- am Main, 2003), pp. 39−56; id., Frauen an typescript of a lecture delivered on April 23 stein (1859–1937): Eine Künstlerin zwischen Tra- der Staffelei: Ein vernachlässigtes Kapitel and 30, 1949 [Hofheim], Roederstein-Jughenn dition und Moderne, exh. of the magistrate of der Frankfurter Kunstgeschichte, exh. cat. Archive, call no. OR 72. the city of Hofheim am Taunus – Stadtmuseum/ Frankfurter Sparkasse, Kundenzentrum 57 Algeria and Tunesia, 1913, see Roederstein- Stadtarchiv, November 21, 1999–November 16, (Frankfurt am Main, 1994). Jughenn Archive, call no. OR Foto 1, OR Foto 25; 2000.

87 88 Cat. 32 Mary Magdalene at the Foot of the Cross 1894 Tempera on wood, 58.5 × 39 cm Stadtmuseum Hofheim am Taunus

Cat. 31 Madonna with Flowers or Month of Mary 1890 Oil on canvas, 130 × 89 cm Pfarrei St. Peter und Paul Hofheim-Kriftel

89 90 Cat. 33 Pietà 1897 Oil on canvas, 70 × 170.5 cm Pfarrei St. Peter und Paul Hofheim-Kriftel

91 Cat. 34 Auguste Andreas, née Walluf 1892 Oil on canvas, mounted on paperboard, 79 × 57 cm Kunsthandlung J. P. Schneider Jr., Frankfurt am Main Cat. 35 Young Man with Riﬂe (Wilhelm Altheim) 1893 Oil on canvas, 99.5 × 66.5 cm Property of the Swiss Confedera tion, Federal Office of Culture, Berne

92 93 Cat. 36 Cat. 37 Jeanne Smith in Jeanne Smith in Breton Costume Breton Costume 1895 1896 Oil (?) on wood, 41 × 31.5 cm Red chalk, heightened in white, Stadtmuseum Hofheim on paper, 37 × 29–29.8 cm am Taunus Kunsthaus Zürich, Collection of Prints and Drawings, donated by Mr. and Mrs. Dürler-Tobler, 1940

Cat. 38 Mila von Guaita 1896 Tempera on wood, 46 × 33 cm Private collection, Frankfurt am Main

94 95 Cat. 39 The Orphan ca. 1896 Tempera on wood, 30.5 × 26 cm Kunsthaus Zürich, 1897

96 Cat. 40 Engaged Couple 1897 Tempera on wood, 39.5 × 46.5 cm Kunsthaus Zürich, 1897

97 Cat. 41 The Three Ages 1900 Tempera on cardboard, 50 × 61 cm Von der Heydt-Museum Wuppertal

98 99 Cat. 42 Cat. 43 Girl with Red Ribbon The Sisters in Her Hair 1900 1897 Tempera on paperboard, 22.9 × 18.2 cm Oil (and tempera?) on cardboard, Städel Museum, Frankfurt am Main 35.5 × 27.5 cm Private collection, Frankfurt am Main

Cat. 44 Boy with Cherries 1899 Oil on canvas, 37 × 29.5 cm Private collection, Frankfurt am Main

100 101 102 Cat. 46 The Harquebusier’s Pot (Portrait of Wilhelm II?) 1899 Tempera on fiberboard, 61.2 × 39.5 cm Private collection, Frankfurt am Main

Cat. 45 The Victor 1898 Oil on cardboard, 91 × 69.8 cm Städel Museum, Frankfurt am Main

103 Cat. 47 Cat. 48 Still Life with Teacups Still Life with Pears 1904 and Casserole Oil on canvas, 43 × 58.8 cm 1903 Private collection Oil on canvas, 24.6 × 34.2 cm Städel Museum, Frankfurt am Main

Cat. 49 Old Woman Reading 1902 Oil on canvas, 61 × 45.5 cm Städel Museum, Frankfurt am Main

104 105 Cat. 50 Nude Boy 1893 Oil on canvas, 77 × 103 cm Private collection

106 107 108 Cat. 52 Cat. 53 Gotthard Pass Study of the Städel Garden 1908 ca. 1910 Oil on canvas, 45 × 61 cm Oil on paperboard, 61 × 72 cm Private collection Stadtmuseum Hofheim am Taunus

Cat. 51 Portrait of the Painter Jakob Nussbaum 1909 Oil on canvas, 86.5 × 61.5 cm Städel Museum, Frankfurt am Main

109 Between Tradition and Transformation Roeder stein’s Late Work

/ Eva-Maria Höllerer

110 111 “Your brand of objectivity is extremely agreeable and has so refreshingly little to do with the blanket objectivity that has become so popular.” Cuno Amiet to Ottilie W. Roederstein, April 22, 1929¹

ttilie W. Roederstein received these lines from her younger painter colleague Cuno Amiet in April 1929, shortly after her seventieth birthday. Amiet and Roederstein had been closely acquainted since 1903, or perhaps even earlier.² OAmong other things, she was interested in his art from her perspective as a collector (cat. 84). To his birthday wishes he had added an expression of respect for her work, a brief sentence in which he nevertheless captured the fundamental characteristics of her late phase: a reductive, planar formal language and a tendency toward linearity and the simplification of the visual impression, a matter-of-fact austerity combined with a matt palette. And even if we can indeed detect a formal resemblance to the New Objectivity style that had emerged in the twenties, Roederstein remained faithful to what was essen- tially an idealistic conception of art. It will thus have been the quality of an intuitive simplicity in her works that prompted Amiet to distinguish her from the “blanket objectivity” practiced by other artists. Roederstein herself characterized the years from 1910 onward as a search for her personal style—a process that she acknowledged was shaped by introspection and withdrawal.³ And in fact, this final stylistic transition in her œuvre coincided with her move to Hofheim am Taunus, where she and her friend and life partner Elisabeth H. Winterhalter had had a house built for themselves in 1908/09, along with a separate studio building. This is not to say that Roederstein severed her contacts to the art world, quite the contrary. Nevertheless, the pressures that had accompanied her since the beginning of her career—to earn money and satisfy her customers’ wishes—had meanwhile lessened considerably. In her late years, to a greater degree than before, she could thus take the liberty of pursuing stylistic experiments that went hand in hand with a broadening of her repertoire of subjects. A survey of Roederstein’s overall œuvre from the early eighteen-eighties onward reveals, on the one hand, thematic continuity in portrait and still-life with only few forays into other areas such as genre scenes or religious painting, and, on the other hand, strikingly radical changes of style. She repeatedly alternated between painterly expression and a mode of capturing her subjects that emphasized line and draftsmanship. In her early Frankfurt period, for example, she departed from the conservative naturalistic approach that had strongly shaped her years of training in Paris, turning instead to Cat. 54 the idealistic Old Masterly conception of art pursued by artists such as Hans Thoma Hanna Bekker and Karl von Pidoll.⁴ This dialectic is also echoed in the artists she looked to for orien- vom Rath in Proﬁl tation: for she revered the art of Diego Velázquez and Rembrandt, but also that of Hans 1923 Holbein the Younger and Sandro Botticelli.⁵ She admired the contour-omitting brush- Oil and tempera on card- work of her teacher Jean-Jacques Henner and took inspiration from the spatial planar- board, 51.5 × 40 cm Stadtmuseum Hofheim ity and linear figure-style of Hans von Marées and Ferdinand Hodler. As a collector she am Taunus favored the colorful, light-flooded works of the Neo-Impressionists,⁶ while as an artist

112 113 Fig. 1 Ottilie W. Roederstein Marie (“Mieze”) Hildebrand 1897, tempera on wood, private collection, reproduction, Roederstein- Jughenn Archive in the Städel Museum

Fig. 2 Sandro Botticelli Idealized Portrait of a Lady (Portrait of Simonetta Vespucci as Nymph) ca. 1480, mixed technique on poplar, 81.3 × 54 cm, Städel Museum, Frankfurt am Main, (in the collection since 1849)

however she developed a subdued, matt coloration more reminiscent of the fresco-like quality encountered in the paintings of Pierre Puvis de Chavannes. And in her late work, she ultimately staked out a place of her own between the antipodes of new art and old, painting and draftsmanship, the French influence and the German.⁷

The Renaissance Ideal

One of the most conspicuous features of the works Roederstein executed after 1910 is a formal language characterized by planarity and an emphasis on contour. Particularly in comparison to the impressionistic approach she had pursued in the years after 1901 (cats. 22 and 51), this represented a striking change of style. To an extent, however, her striving for simplification of form and clarity of composition also meant a reversion to earlier pictorial inventions she had developed in the mid-nineties after Renaissance models, both Italian and northern. As late as 1923, for instance, she modeled her portrait of Hanna Bekker vom Rath in Profile(cat. 54) closely after the likeness of Marie (“Mieze”) Hildebrand (fig. 1) she had painted in the Renaissance Revival style in 1897. She adopted the same rigorous profile view, flat black backdrop, and narrow glimpses of the landscape on either side. At the same time, owing to its greater simplification and two-dimensionality as well as the heightened color contrasts that cause the profile to stand out starkly against the background, the later portrait is decidedly more modern in character. Now the landscape has been radically abbreviated to indistinct, almost abstract forms and serves primarily as a chromatic complement to the dominant orange in the foreground. Roederstein had joined the circle around Pidoll and Thoma in about 1893—quite early on in her Frankfurt years—and studied the visual effects attained by the early Old Masters in great depth. Inspired by her findings, she carried out her works in egg tempera, a technique that only had been rediscovered around 1850, with the typical emphasis on line and clusters of thin, parallel brushstrokes.⁸ Compared to the ostentatious virtuosity of the Salon painting⁹ she had become acquainted with in Paris, this approach was much more in keeping with the wish for simplicity she had already expressed back then.¹⁰

114 Fig. 3 Ottilie W. Roederstein Gardener Adam Seidemann with Scythe or The Mower or Decorative Wall Painting 1909, tempera painting, destroyed, photograph, Roederstein-Jughenn Archive in the Städel Museum

Fig. 4 Ferdinand Hodler Halberdier 1895, oil on canvas, 327 × 108.5 cm, Musée des beaux-arts de Montréal, gift of Mr. and Mrs. Michal Hornstein

In her late phase, Roederstein again reverted to the portrait ideal she had developed after the manner of the Old Masters, in which context her chief concern was to capture her subjects naturalistically, but at the same time subjectively. In a letter to her former student Hanna Bekker vom Rath, herself a painter, she counselled: “… always ask Nature’s advice, do not seek to sophisticate her, but grasp Nature as beautifully & singularly as she is & see her through your eyes & temperament; then you will find your way to a gratifying goal.”¹¹ In Roederstein’s late work, the view through her own temperament led to a greater degree of supraindividual stylization. She refrained from defining the surrounding space and representing attributes that would have allowed the subject’s exact tem- poral or social localization, and placed increasing emphasis on linear beauty as conceived by Sandro Botticelli in the ideal portraits she so admired (fig. 2). She also attached ever greater importance to the composition of form and color values, thus heightening the decorative quality of her works. Yet to whatever degree she idealized and typified her por trait subjects, she remained faithful to their characteristic traits and individuality.

Roederstein and Hodler: The Simplification of Form

The artistic aims Roederstein pursued in her late phase—the striving for unity of form and content and the tendency to abbreviate and monumentalize her figures—are mirrored in artistic currents of the time, particularly in the works of Ferdinand Hodler (1853–1918), whose easel and wall paintings she studied in great depth in those years. One of her first figural compositions in the new formal language was presumably the Gardener Adam Seidemann with Scythe (fig. 3). She presented the large-scale work in 1911 at the Kunstausstellung Darmstadt, titling it “Decorative Wall Painting.”¹² Accord- ing to Hermann Jughenn’s notes, she had painted it in 1909 and later destroyed it so she could use the canvas for a different work.¹³ Whereas the subject is inspired by Hodler’s early Mower (1878, private collection), the format, the planar character of the landscape, and the monumentality of the figure are reminiscent of his designs for the wall

115 Cat. 55 Mount Niesen on Lake Thun ca. 1917 Tempera on canvas, 90 × 71 cm Private collection

decoration of the Palais des Beaux-Arts in Geneva, a project he carried out in 1895 for the Schweizerische Landesausstellung (Swiss National Exhibition). Hodler’s confeder- ates in typical costumes and poses, for example the Halberdier (fig. 4), seem to have encouraged Roederstein to venture a work of a kind unusual for her at the time. The title she gave it clearly underscored its decorative character. What had evidently sparked her interest were not only the planarity and emphasis on line in Hodler’s wall paintings, but also their strongly simplified compositions and concentration on a meaning-charged moment of imminent action. She was presumably well familiar with the works of her Swiss colleague in the original. During her time in Paris and her regular visits to Zurich, she will have had ample opportunity to see them in exhibitions or even to meet Hodler in person. He had been present in the art capital since the Exposition universelle of 1889, and Roederstein kept a keen eye on current trends.¹⁴ What is more, until 1914 she possessed a drawing (cat. 93) Hodler had executed in connection with his wall cycle Retreat from Marignano (1898–1900) in the Zürcher Landesmuseum.

116 Fig. 5 Ferdinand Hodler Niesen on a Rainy Day 1910, oil on canvas, 67 × 50 cm, Kunstmuseum Bern

Fig. 6 View of the Niesen early 20th c., photograph, Roederstein-Jughenn Archive in the Städel Museum

Against this background, it is all the more interesting to note that references to Hodler only began to appear in Roederstein’s own works around 1910. It may have been an exhibition of contemporary Swiss art taking place in Frankfurt in 1908 that provided the decisive impulse. Initiated by the Verband der Kunstfreunde in den Ländern am Rhein and rea- lized at the invitation of the Frankfurter Kunstverein, the show had been staged at Haus Herwig.¹⁵ Roederstein did not exhibit works of her own, but along with Ernst Würtenber- ger—whom the Verband’s founder, Wilhelm Schäfer, had appointed as curator—she was involved in procuring the works and organizing the event. Schäfer was a close and longstanding acquaintance of hers, and at his request she moreover made the final selection and oversaw the hanging of the works at the venue.¹⁶ Now, if not before, she will have met Hodler in person.¹⁷ Of all the participating artists, it was he who presented the largest ensemble in the show: ten works, some of them quite large in scale, representing a characteristic cross-section of his œuvre.¹⁸ The foreword to the catalogue not only high- lights the “preeminent importance” of his work but also pronounces him the pioneer of a movement whose “passionate efforts” were directed toward a return “from Impres- sionism’s new conception of color back to a solid rendering of form and monumen tal depiction.”¹⁹ Roederstein would continue to devote herself to large-scale figural compositions mirroring Hodler’s influence on her work.²⁰ It is her painting Mount Niesen on Lake Thun (cat. 55) that most strikingly reveals her close study of his artistic principles, which were based on symmetry, repetition, and the rigorous organization of the pictorial space.²¹ In content and form, Roederstein’s work can be understood as a quotation of Hodler’s famous depiction of the same mountain. The resemblance to his Niesen on a Rainy Day (fig. 5) is obvious. Roederstein chose a slightly different perspective, however, and steepened the slopes. Jughenn’s catalogue raisonné contains a photograph of the mountain that may have served her as a reference in framing her composition, while also showing that she chose not to depict its incline as it is in reality (fig. 6). She placed far greater emphasis on verticality, thus lending the Niesen a more imposing appearance. The shoreline in Roederstein’s painting exhibits much more detail than that in Hodler’s and does not create the same visual analogy between two parallel horizontal axes, a device Hodler used to unite the two parts of his painting to form a coherent

117 whole. Roederstein’s primary aim was to reduce the mountain’s natural appearance to its basic geometric form. She rendered its pyramidal shape as a near-isosceles triangle whose symmetrical reflection on the lake’s surface cre- ates a square that forms the center of the composition²² and balances its vertical and horizontal forces. The unity of the composition postulated by Hodler was also a chief concern of Roederstein; in her work, however, it has a more constructed quality. For all its compositional affinity, Roederstein’s modeling of the massif and its foothills is more three-dimensional, thus falling short of Hodler’s call “to see nature as a surface.”²³

The Matt Effect

Similarities between the works of Hodler and Roederstein are evident not only in terms of the tendency toward simplification and the emphasis on a graphic quality, but also with regard to the light-hued, matt coloration. In response to Roederstein’s works of the nineteen-tens, even contemporary critics were quick to notice that “the Swiss movement … has not left her untouched,” and that a “greater strength and lightness of the colors” were the result of this influence.²⁴ Fig. 7 The shift toward lighter hues in her paintings can also be attributed to her use of a new Lucas Cranach the Elder product: Weimar Farben (Weimar Paints).²⁵ In an autobiographical text she wrote in 1928, Venus the artist remarked that in 1910 she had turned to “Weimar tempera” after recognizing 1532, mixed technique on that her talents lay “more in drawing than in painting as a medium of expression.”²⁶ The beech, 37.7 × 24.5 cm, Städel new paints were popular on account of the exceptional clarity and vibrancy of their Museum, Frankfurt am Main (in the collection since 1878) colors, which did not muddy even after multiple overpainting or the “most irrational” handling.²⁷ An oil-resin product available in tubes since 1907, Weimar Farben could be blended on the palette with a special painting medium, so-called “fig milk,” to obtain a kind of “tempera.” This “Weimar tempera,” as Roederstein called it, found favor with artists because of its versatility and suitability to rapid application, but also because it developed a matt, pastel-like character after drying.²⁸ In the eighteen-nineties, Roeders- tein had already worked with egg tempera in her endeavor to emulate the painting style of Renaissance masters and the vibrant, enamel-like effect of their colors. Now she presumably chose “Weimar tempera” specifically on account of its matt appearance. In 1914, she exhibited a series of sixteen tempera paintings at the Kunsthaus Zürich,²⁹ on which occasion she was anxious about how best to present them, in view of their matt coloration. During the preparations she wrote to museum director Wilhelm Wartmann to request a suitable skylit room, as her “… works are tempera paintings, matt, & particularly this series I wish to exhibit should make a ho mo geneous impression & whether or not they come over well depends greatly on the light.”³⁰ As Roederstein herself stated, to avoid the impression of deeply radiant color or surface polish, she also left these works, once completed, deliberately unvarnished. The matt effect in painting was widespread around 1910, and Roederstein and her Swiss colleagues shared an interest in tempera paints. Hodler, having initially used matt temperas for his wall paintings, now also employed them for his smaller works. Cuno Amiet and Giovanni Giacometti also experimented with various tempera paints and formulas, and Ernst Würtenberger, with whom Roederstein had collaborated on Cat. 56 the Ausstellung von Werken Schweizer Künstler in Frankfurt and other projects, was, Ottilie W. Roederstein apart from Arnold Böcklin, one of the foremost exponents and propagators of tem- Girl at Her Toilette pera painting in Switzerland.³¹ 1911 Yet there were also German artists who worked with tempera, for example Paula Tempera and oil on canvas, 100 × 65 cm Modersohn-Becker, who favored a pastose technique using matt paints, as well as Alexej Private collection von Jawlensky and Marianne von Werefkin. The members of Der Blaue Reiter and the

118 119 Brücke were as averse to the shine of oil paints as Lyonel Feininger, who likewise used Weimar Farben to achieve a matt effect. Dissociation from academic oil painting was not the least of the reasons why many painters strove for a muted finish.³² In fact, despite its origins in historical painting techniques, matt had come to be considered modern and progressive. In their search for alternative mediums of expression, particularly avant-garde artists thus used matt paints as a means of referring to the appearance and formal language of frescoes of the Renaissance and antiquity. What is more, since the revival of that technique by the Nazarenes, monumental wall paintings had come back into fashion.³³ Along with various portraits such as Saint-Cyr Cadet (cat. 72), a self-portrait, and still lifes, Roederstein also presented her 1912 Girl at Her Toilette (cat. 56) in the Zurich exhibition of 1914. The motif—a rather unusual one for her—seems to have been inspired by Edgar Degas’s pastels of women washing or bathing. Whereas some critics consequently considered the work quite indebted to the art of the French capital, its flat manner and the detached, even aloof, stylized linearity of the bodily forms compelled others to compare it to Lucas Cranach the Elder’s mythological female nudes Fig. 8 (fig. 7).³⁴ Yet in view of the smooth, chalky quality of the paint in Girl at Her Toilette, as Pierre Puvis de well as the finely nuanced modeling of the body with its almost statuesque character, Chavannes another reference to French painting also suggests itself: the work of Pierre Puvis de Saint Mary Magdalene Chavannes. He was one of the first painters who endeavored to reproduce the effect of in the Desert ancient frescoes in his paintings on canvas. The subdued, chalk-like look he achieved by before 1870, oil on canvas, means of various techniques³⁵ was long disparaged, even vilified, by the critics; only at 156.5 × 105.5 cm, Städel Museum, Frankfurt am Main, property the end of the nineteenth century did artists come to regard it as a quality worthy of of the Städelscher emulation.³⁶ Roederstein will certainly have become acquainted with Puvis de Cha- Museums-Verein e. V. vannes’s œuvre during her time in Paris. Along with her teacher Carolus-Duran, he was (in the collection since 1910) co-chairman of the Société nationale des beaux-arts, of which she became a member in 1891.³⁷ In Germany, on the other hand, the Frenchman’s work was not widely known. Inter- estingly, the Städelscher Museums-Verein nevertheless purchased his painting of Saint Mary Magdalene (fig. 8) for the Städel Collection as early as 1910—that is, shortly before Roederstein executed her nude and right around the time she began using the matt Weimar Farben. And in 1919, she painted a female nude seen from the back that makes clear reference to the Frenchman’s iconic painting Young Girls by the Seaside (1879, Musée d’Orsay, Paris).³⁸ Not only artists such as Ferdinand Hodler and Cuno Amiet took orientation from the color effects of Puvis de Chavannes’s works,³⁹ but the Symbolists and the Nabis were also drawn to his matt, fresco-like paintings on account of their antinaturalistic, decorative character. In analogy to these works’ aesthetic, function, and symbolic content, the matt colors were associated with a transcendental, allegorical character in easel painting as well. As opposed to the glossiness of oil paints, which stood for naturalism and realism, they brought out the material quality of a work. The matt surface directed the focus to the work’s decorative or symbolic value and made it comprehensible as the “subjective expression of an idea.”⁴⁰ Maurice Denis, for example, adopted Puvis de Chavannes’s light, chalky palette and statuesque rendering of the figures in his Baigneu- ses of 1907, a painting likewise purchased by the Städtische Galerie in the Städel Muse- um in 1910. His stronger stylization and even more resolute avoidance of spatial depth only heightens the resemblance to ancient frescoes or decorative wall paintings. These purchases, but also the exhibitions of Hodler’s works in Frankfurt and elsewhere in Germany must have lent the matt, fresco-like effect an immediate new

120 Fig. 9 Hans von Marées The Hesperides 1885–87, oil and tempera on wood, 341 × 482 cm, Bayerische Staatsgemälde- sammlungen – Neue Pinakothek, Munich

topicality for Roederstein. At the same time, the quiet luster of the Weimar Farben that further enhanced the planar, decorative character of the painting paved her return to aesthetic ideas she had already developed during her first tempera phase under the influence of the Renaissance Revival.

Fresco and Wall Painting

The interest in wall painting and the application of its artistic principles to easel painting was not limited to Puvis de Chavannes, the Nabis, and Hodler. The striving to attain a fresco-like effect and think in terms of larger, programmatic contexts were themes of the time. And even if Roederstein was not involved in the decoration of buildings, she drew impulses for her own work from the fresco style of her contemporaries.⁴¹ In fact she first studied the color effects of Italian Renaissance frescoes, particularly those by Filippino Lippi and Bernardino Luini, before the turn of the century, in the eighteen-nineties.⁴² What is more, owing to the technical challenges presented by the medium, frescoes man- ifested the compositional simplicity she considered ideal. In Germany (apart from the Nazarenes), it was above all Hans von Marées who devoted himself to the revival of fresco painting. He regarded the fresco as the noblest of all art forms. Yet despite the success of his fresco decorations for the Stazione Zoolog- ica in Naples (1873/74), no further commissions of that kind came his way. He thus took to painting “frescoes … without the wall,” applying not only the technical aspects but also the simplicity and monumentality of the medium to his easel works.⁴³ In the divi- sion of the pictorial field into zones and the pseudo-architectural framing, his triptych The Hesperides (fig. 9), for example, imitates the decorative elements of wall painting. Roederstein first encountered Marées’s art at the 1891 international show Münche- ner Jahres-Ausstellung von Kunstwerken aller Nationen at the Munich Glaspalast, indeed if not earlier, and they made a lasting impression on her.⁴⁴ She was presumably also familiar with his frescoes in Naples.⁴⁵ From the nineties onward, she carried out numerous depictions of nudes—for example Young Woman with Apple (fig. 10)—in which she emulated and reworked his manner of depicting the human body after antique and

121 Fig. 10 Ottilie W. Roederstein Young Woman with Apple ca. 1899, painting, whereabouts unknown, reproduction, Roederstein- Jughenn Archive in the Städel Museum

Fig. 11 Ottilie W. Roederstein Standing Female Nude with Towel 1913, tempera on canvas, 99 × 46.5 cm, private collection

Renaissance models.⁴⁶ And as evidenced by the inclusion of her works in the major Marées commemorative retrospective in Wuppertal in 1904, she continued looking to him as an important reference and a yardstick even in later decades.⁴⁷ In the subsequent years, he attracted more interest than ever in Germany, and a further monographic show followed in 1909, now at the Frankfurter Kunstverein.⁴⁸ The monumentalization of the figure, an approach Marées had derived from the ide- als of classical antiquity, still echoes in Roederstein’s Standing Female Nude with Towel of 1913 (fig. 11). By virtue of the completely flat background, the spatial situation remains abstract, quite in contrast to the three-dimensional modeling of the body. The manner in which the artist models the figure by starting from the contours and working in echoes her female nude of 1899 and the laurel-crowned Victor (cat. 45) of the previous year. The sculptural monumentality, tight framing, and cursory blocking-in of the pictorial space are all aspects of Marées’s art that Roederstein had since made her own. And while these characteristics also distinguish the nude of 1913, the strong stylization of the figure has now made way for a substantially more naturalistic and objective depiction, as comparison to a photograph from the artist’s estate showing a model in an identical pose (fig. 12) confirms.⁴⁹ Roederstein’s preoccupation with Marées’s simplified conception of the figure would prove to be a connecting link between her Frankfurt tempera phase of the nineties and her late work.

Stylization “à la japonaise”

The linear stylization of the natural model is also the focus of a series of gouache drawings Roederstein carried out around 1917 after the manner of Japanese woodblock prints. A dozen such works are known to us.⁵⁰ Without exception, they are portraits of friends and acquaintances (cats. 59–64) that evidently served the artist as a means of systemati- cally exploring the expressive possibilities of line and surface—and taking them to an

122 extreme. Most of these gouaches remained in her studio, a circumstance that further confirms their experimental character. The only one of the Japonist portraits she relinquished was that of Count Fritz von Hochberg (cat. 59), which she sent him in the form of a reproduction, as we know from a letter. A connoisseur of Japanese and Chinese culture, Hochberg immediately recognized the reference to Japanese woodblock prints, but considered it “quite peculiar.”⁵¹ He had had his portrait painted by Roederstein a few months earlier (cat. 58), and she presumably used that work as a model for the Japanese-style reprise.⁵² A comparison of the painting with the gouache reveals that, in the latter, she further simplified the forms and refrained entirely from adding texture to the head and bust. What is more, she rounded the model’s head to a far greater degree, thus creating formal analogies between the various pictorial levels. She captured his physiognomic features with just a few cursory lines, lending them an almost caricatur- esque quality, and presumably it was this aspect that elicited Hochberg’s slightly piqued response. The painter adopted the muted shades of blue, green, and yellow she had used for the canvas portrait. Because she refrained from modeling and color gradations, however, the hues are more vivid and take on a decorative value of their own. It may have been Hochberg’s personal connection to Japan that inspired Fig. 12 Roederstein’s stylistic experiments.⁵³ Yet the Japanese color woodblock prints (fig. 13) in Female Nude the artist’s own collection likely also served her as models. with Towel The series of twelve works shows that she was preoccupied with them over a cer- ca. 1913, photograph by tain length of time and that, within this process, she underwent a development toward Ottilie W. Roederstein (?), Roederstein-Jughenn Archive ever more minimalistic compositional solutions. Whereas the portrait of Hochberg, but in the Städel Museum also those of Jeanne Smith (cat. 63) and Mathilde Battenberg (cat. 62), still exhibited a tendency toward caricatural overstatement, the depictions of Erna Pinner (cat. 61) and Irmgard Fischer (cat. 64) are even more reductive in expression and style, and thus more akin than ever to ukiyo-e prints.⁵⁴ Thus it was not until relatively late in Roederstein’s career that her interest in Japa- nese printmaking had an impact on her work, despite the fact that she had been living in Paris in the eighties and nineties, when Japonism was at its peak—and, as photos of her studio show (fig. p. 183),⁵⁵ already purchased Japanese woodblock prints for her collection back then, or soon thereafter.⁵⁶ In this later phase, however, she presumably considered her experimental play with the decorative two-dimensionality and expressive value of line in the ukiyo-e more a confirmation of her own style than a source of inspiration. Nevertheless, her encounter with Japanese imagery reflects the significance of color, line, and surface for Roederstein’s late work as well as the diversity of the aesthetic models she explored.

Line and Color

Toward the end of the nineteen-tens, the combination of Renaissance ideal, frescoesque simplification, and Japonist aesthetic led Roederstein to a more abstract pictorial language borne by the heightened effect of color values. The portrait of the young Irene

123 124 Holz, née Edle von Hofmann (cat. 57) can be interpreted as a manifestation of this development. Here the artist has reduced the background to a flat expanse of pure color; not even the slightest representational context can be dis- cerned. Vivid blue and bright green serve as a contrasting backdrop to the dark red of the fashionable lady’s dress. The resulting color chord is lively, almost dissonant, and lends the portrait the flair of modernity. The strong stylization of the background enhances the painting’s decorative effect, while at the same time a disconcerting tension ensues between its abstract planarity and the three-dimensional treatment of the figure, a naturalistic figure-style to which the artist holds true, despite the flattening of space in the background. In the painting Old Woman or Old Peasant Woman of 1918 (cat. 65), an allegory of old age, the artist took the abstraction of the human figure to a much further extreme. Rather than stylization, however, her aim here was to employ the qualities of line and color as vehicles of mood. She has rendered the woman’s facial features and stooped posture in dark, broken lines of an almost woodcut-like ex- aggeration reminiscent of her experimental portraits in the style of the ukiyo-e prints. Again she has reduced the background, now to a grayish blue surface divided hori- zontally into two irregularly shaped zones. The precise description of the face thus comes all the more distinctly into focus as a quintessential image of melancholy. Here it is a dark, cool grayish blue and a somber ocher yellow that combine to underscore the Fig. 13 message conveyed by the representational form. Bunrō The Old Peasant Woman is one of several works reflecting the artist’s experience of Young Couple World War I. In this period, Roederstein devoted herself “entirely to a search for her with Falcons own expression and sense of the world.”⁵⁷ The painting—for which one of the artist’s ca. 1800–10, color neighbors sat as a model—must accordingly be considered less a portrait than an alle- woodblock print, 31.5 × 21 cm, private collection gory of a state of mind. The titles of other paintings executed around the same time, for example Lament, Humility, or Anguish, likewise point to this pursuit.⁵⁸ Apart from the formal and aesthetic function of color, Roederstein also explored its suggestive and psychological potency. She owned a copy of Hans Bartolo Brand’s new theory of color, Akkord- und Quintenzirkel der Farben und Töne, which is now in the Roederstein-Jughenn Archive.⁵⁹ In the treatise published in Munich in 1914, Brand equates the effect of color on mood with that of musical notes and chords. In analogy to music, he proceeds on the assumption of chromatic major and minor chords which, like musical harmonies, communicate the artist’s corresponding feelings or evoke them in the beholder. Brand’s deliberations differ from physics/optics-based color theories by such scientists as Eugène Chevreul, Hermann von Helmholtz, and Wil- helm von Bezold in that he based them, on the one hand, on the psychological parallelism of the effect of sound and color and, on the other hand, on the artist’s innate sense Cat. 57 of beauty. He also applies the laws of formal harmony and composition, for example Irene Holz, the Golden Section, to the effect of color. née Edle von Hofmann Roederstein may have regarded Brand’s color harmony theory, developed “from 1919 the artistic sensibility,” as a suitable means of theoretically substantiating her own out- Tempera on canvas, 70 × 48 cm look—all the more so because, in his introduction, he cites works by German and Italian Private collection, Zurich

125 Old Masters as exemplary of the felicitous application of finely tuned color harmonies.⁶⁰ Another artist who read Brand was Adolf Hölzel, who had been engaged in a lively study with that author’s ideas since his Dachau period, and adopted them for the practical instruction of his pupils at the art academy in Stuttgart. In 1903, Hölzel gave a lecture on color theory at the Städelsches Kunstinstitut in Frankfurt that subsequently appeared in the journal Die Kunst für Alle.⁶¹ There is no evidence of direct contact between Roederstein and Hölzel until the late twenties; in 1916, however, she arranged for her pupil Hanna Bekker vom Rath to join his class in Stuttgart. And in view of the fact that the two artists had a common acquaintance in Wilhelm Schafer, it can also be assumed that Roederstein was familiar with Hölzel’s theories on color.⁶² Roederstein’s renewed interest, in around 1918, in the possibilities line and color offered for the expression of mood may indeed have been sparked by contemporary art theory. In essence, however, it was already inherent in her passion for the Old Masters.

Her Signature Style

Whereas Roederstein continued to experiment with color and form in her still lifes even after 1920 (cats. 80 and 83), she departed from the use of vivid colors in her figural paintings. In works such as Meta Quarck-Hammerschlag (cat. 76) or the Self-Portrait with Keys (cat. 27), she found her way to a palette of finely gradated, subdued hues. What is more, toward the end of her career, the painterly impetus—with broad brushstrokes and, in places, pastose paint—once again came to prevail. The artist’s repeated abandonment of styles once found testifies to the impressive spectrum of possibilities for painterly expression she had at her disposal thanks to her great technical skill. At the same time, it is also an indication of her openness to contemporary—and in part contradictory—trends and influences. Even at an advanced age, she kept abreast of the art world and went to exhibitions, even those of “very modern” movements.⁶³ Yet there is one constant in her ongoing search: the striving—already enacted early on—for clarity of expression and simplification in the representation of her own visual impressions.⁶⁴ After 1910, Roederstein embarked on a revision of her œuvre that consisted in reexamining her earlier pictorial inventions and painterly styles. It was by way of this renewed exploration of the frescoes of the Italian Renaissance, but also the new impulses arising from Hodler’s boldly linear flat forms, de Chavannes’s chalky palette, and Marée’s monumentality of the human figure that she found her way to her own clear style. Roederstein extracted the basic artistic principles of the artists she emulated and enhanced them with the new impressions she gained from, for example, Japanese woodblock prints or current trends, thus heightening the stylization of her subjects. At the same time, she was always concerned with far more than the purely decorative effect of her works. As one critic put it, she resisted the “misunderstood concept of l’art pour l’art” that had led to “the portrait being almost ashamed of its de- pictive content … the object no longer allowed to mean more than the neutral bearer of painterly stimuli.”⁶⁵ The striving to contemplate and comprehend nature in keeping with her own very personal temperament so as to then capture her impressions pictorially remained a source of inspiration for Roederstein all her life. It was the basis on which she worked, but also the benchmark by which she judged the work of other contemporary artists.⁶⁶ The indebtedness to nature may also be the reason why, even in her most radical compositions, she never ventured beyond a certain degree of simplification that led other artists of her time, for example Alexej von Jawlensky, more resolutely to abstraction.

126 1 Cuno Amiet to OWR, Oschwand, April 22, 1929, sequently appeared in periodicals such as Roederstein-Jughenn Archive, call no. OR 11, Roederstein-Jughenn Archive in the Städel Die Rheinlande and Die Werkstatt der Kunst. 1909-4. Museum, Frankfurt am Main (in the following 8 Pidoll was a pupil of Arnold Böcklin and Hans 14 In 1891, Hodler’s painting Night was personally abbreviated as “Roederstein-Jughenn Archive”), von Marées. He expanded on their experi- selected for the salon show of the Société call no. OR 144. In his letter, Amiet associates ments with tempera paints and developed nationale des beaux-arts by Pierre Puvis de this characterization of her works above all the Verbesserte Ei-Temperafarbe (Improved Chavannes, a member of the jury along with with those of the “last decennium.” Egg-Tempera Paint), manufactured from 1892 OWR’s teacher, Carolus-Duran. It caused a 2 Cuno Amiet to OWR, January 2, 1903, ibid., call by the Dr. Fr. Schoenfeld GmbH & Co. artists’ sensation. The Swiss artist was moreover no. OR 144. A first mention of Roederstein’s paints and canvas factory in Düsseldorf and awarded a “mention honorable” at the 1889 works, however, is found in a letter from Amiet sold in tubes. Apart from OWR, Hans Thoma Paris Exposition universelle, where OWR won to Giovanni Giacometti of June 10, 1900, in also used these paints, at least for a time; her first silver medal the same year. In 1900, Cuno Amiet and Giovanni Giacometti, Brief- see Eva Reinkowski-Häfner, Die Entdeckung both Hodler and Roederstein again exhibited wechsel, ed. Viola Radlach (Zurich, 2000), der Temperamalerei im 19. Jahrhundert: Er- in the Swiss section of the fair; this time Hodler pp. 296–97. forschung, Anwendung und Weiterentwicklung received the gold medal, while Roederstein 3 O. W. Roederstein, Mein Lebenslauf, 1928, einer historischen Maltechnik (Petersberg, was awarded a silver one for a second time, Roederstein-Jughenn Archive, call no. OR 27. 2014), pp. 371−73. See Albrecht Pohlmann et al., now for her portraits in the Renaissance “A Tabulated Listing of Industrially Produced Revival style. 4 On Roederstein’s years in Frankfurt am Main, Tempera Paints, c. 1900,” in Karoline Beltinger see the contribution by Alexander Eiling in this 15 Ausstellung von Werken Schweizer Künstler, and Jilleen Nadolny, eds., Painting in Tempera, publication, pp. 70–87, here p. 72–80. veranstaltet vom Verband der Kunstfreunde c. 1900 (London, 2016), pp. 147−65, here p. 162. in den Ländern am Rhein im Auftrag des Frank- 5 “J’adore plus que jamais Holbein et mon 9 For a critical examination of the term “Salon furter Kunstvereins, exh. cat. Haus Herwig cher Velázquez [I adore Holbein and my dear painting,” under which a large number of (Frankfurt am Main, 1908). Velasquez more than ever].” OWR to Made- different styles are subsumed, see Sandra leine Smith, undated [September 8, 1892], 16 Wilhelm Schäfer to OWR, January 24 and 29, Gianfreda, “Introduction,” in Praised and Ridi- Bibliothèque nationale de France, Manuscrits, 1908, Roederstein-Jughenn Archive, call no. culed: French Painting 1820–1880, exh. cat. Archives de la famille Smith-Lesouëf (NAF OR 27. As OWR had been well acquainted with Kunsthaus Zürich (Munich, 2017), pp. 13–19, 28416), Lettres reçues par Madeleine Smith both the board of the Frankfurter Kunstverein here p. 13. (abbreviated in the following as “BnF/Smith”), and Schäfer for years, she presumably played vol. VIII, no. 228v. In 1891, Roederstein more- 10 “[D]e plus en plus j’ai horreur d’habilité, an important role in procuring the works. She over copied the Portrait of Cardinal Gaspar je n’aime plus que les choses les plus simples is also known from the sources to have held a de Borja y Velasco (1643−45, oil on canvas, de la terre non plus ces diables des toilettes private banquet in honor of the Swiss guests— 64 × 48.3 cm, inv. no. 1045) in the Städel Museum, ne me disent plus rien [I detest ability; the only many of whom were already longstanding ac- considered an autograph Velázquez at the time things I like anymore are the simplest things quaintances of hers—within the framework of and today identified as a workshop work. On in the world, not these devils des toilettes; the exhibition. On the role played by Würten- the model character of Botticelli’s works for that means nothing to me anymore].” OWR berger, see Barbara Stark, ed., Ernst Würten- Roederstein, see a comment of hers in a letter: to Madeleine Smith, undated [September 8, berger: Ein deutscher Maler in der Schweiz, “A Munich j’ai passé un des plus beaux mo- 1892], BnF/Smith, vol. VIII, no. 228v. exh. cat. Städtische Wessenberg-Galerie, Kon- ments de ma vie … c’était devant un tableau de 11 OWR to Hanna Bekker vom Rath, undated stanz/Hesse Museum, Gaienhofen (Wädenswil Botticelli … j’ai vu pour mon goût le plus beau [presumably 1925], in Briefe O. W. Roederstein am Zürichsee, 2017), pp. 107−09. On Schäfer tableau dans ma vie [In Munich I spent one of an Hanna Bekker vom Rath, 1913−33, Hanna and the Verband der Kunstfreunde in den Län- the most beautiful moments of my life … it was Bekker vom Rath Archive, Frankfurt am Main. dern am Rhein, see Inga Pohlmann, “Wilhelm in front of a painting by Botticelli … there I saw Carolus-Duran must have given his pupils simi- Schäfer (1868−1952)—Ein Porträt des Heraus- what, for my taste, is the most beautiful paint- lar advice. His “lessons” have come down to gebers der Kulturzeitschrift ‘Die Rheinlande,’” ing in my life].” OWR to Jeanne and Madeleine us in Boston Art Students’ Association, ed., in Die andere Moderne: Kunst und Künstler in Smith, undated [after 1892], BnF/Smith, vol. IX, The Art Student in Paris (Boston, 1887), den Ländern am Rhein 1900 bis 1922, exh. cat. no. 11r–v. [Editor’s note: OWR’s spelling errors pp. 373−76, here pp. 373–74. Émile Zola’s deli- Städtische Wessenberg-Galerie, Constance/ in French have been corrected; unless other- berations in “Les réalistes au salon” (May 11, Museum Giersch, Frankfurt am Main/Städ- wise indicated, that also applies to the other 1866) also echo in Roederstein’s words: “Ils [les tische Galerie, Karlsruhe (Constance, 2013), quotations in this text.] The reference is to artistes] prennent la nature et ils la rendent, ils pp. 15–25; Manfred Grosskinsky, “Der ‘Verband Botticelli’s Lamen tation of Christ, 1490/95, la rendent vue à travers leurs tempéraments der Kunstfreunde in den Ländern am Rhein’ tempera and oil on poplar, 140 × 209.2 cm, particuliers [They (the artists) take nature and und seine Aktivitäten,” in ibid., pp. 29−55. Bayerische Staatsgemäldesammlungen – Alte give it back; they give it back, seen through 17 Cuno Amiet to OWR, March 12, 1908, Pinakothek, Munich. their respective temperament].” Quoted in Roederstein-Jughenn Archive, call no. OR 114. 6 On Roederstein as a collector, see the contri- Émile Zola, Mes haines: causeries littéraires et 18 Apart from Hodler, his younger Swiss col- bution by Sandra Gianfreda in this publication, artistiques; Mon salon (1866); Edouard Manet, leagues Cuno Amiet, Max Buri, Giovanni pp. 154–65. étude biographique et critique, reprint ([Paris], Giacometti, Hans Sturzenegger, and Ernst 1879), pp. 299−307, here p. 300; English transla- 7 On the contemporary cultural controversy Würtenberger also exhibited works on this tion by Judith Rosenthal. over French and German painting and how it occasion; see exh. cat. Frankfurt 1908 came to a head in the dispute between Henry 12 Kunstausstellung Darmstadt 1911, exh. cat. (see note 15). Thode and Julius Meier-Graefe in “the Böcklin Mathildenhöhe (Darmstadt, 1911), no. 233. 19 Anonymous [foreword], in exh. cat. Frankfurt case” and was also manifest in Hans Thoma’s Carl Weichardt’s description of the painting 1908 (see note 15), n. p. (and mention of the title chosen for it by Roe- stylization as the ideal German artist, see, 20 The works in question are The German Boy, derstein) in his review of the exhibition has al- among others, Julius Meier-Graefe, Der Fall ca. 1914, 126 x 64 cm, private collection, lowed us to identify the work in question; Carl Böcklin und die Lehre von den Einheiten (Stutt- and Robert Charton in Uniform, 1914, Weichardt, “Die Kunst-Ausstellung Darmstadt gart, 1905); Henry Thode, Böcklin und Thoma: 180 × 100.5 cm, Stadtmuseum Hofheim am 1911,” Deutsche Kunst und Dekoration, vol. 9, Acht Vorträge über neudeutsche Malerei ge- Taunus; see Barbara Rök, Ottilie W. Roeder- no. 1, 1911, pp. 153−78, here p. 168. halten ... im Sommer 1905 (Heidelberg, 1905). stein (1859–1937)—Eine Künstlerin zwischen Further articles referring to the subject sub- 13 Jughenn catalogue raisonné, vol. 3f., 1907−11, Tradition und Moderne: Monographie und

127 Werkverzeichnis, Ph.D. diss. (Philipps-Universi- Tempera Painting 1800–1950: Experiment 44 OWR to Madeleine Smith, September 16, tät Marburg, 1997), edited by Eva Scheid and and Innovation from the Nazarene Movement [1891], BnF/Smith, vol. VIII, no. 158r/v. published on behalf of the municipal adminis- to Abstract Art (London, 2019), pp. 3–12, 45 In Roederstein and Winterhalter’s private tration of the city of Hofheim am Taunus— here pp. 9–11. library there is a publication on the work of Stadtmuseum/Stadtarchiv on the occasion of 33 Reinkowski-Häfner 2014 (see note 8), Marées that discusses the frescoes in Naples the exhibition of the same name (Marburg, pp. 189−95. in especially great detail: Paul Schubring, Hans 1999), Fig. 59, cat. rais. nos. 975 and 973. 34 “Dix ans d’art français,” exhibition review, von Marées: Vortrag gehalten im Elberfelder 21 On Hodler’s compositional principles and transcript, Jughenn catalogue raisonné, vol. 3f., Museumsverein (Elberfeld, 1904). The library theories, see Oskar Bätschmann, “Hodlers Roederstein-Jughenn Archive, call no. OR 11. moreover contains two copies of the cata- Parallelismen,” in Hodler – Parallelismus, OWR also showed Girl at Her Toilette at the logue accompanying the 1909 Marées exhi- exh. cat. Musée Rath, Geneva/Kunstmuseum Salon de la Société nationale des beaux-arts bition in Frankfurt, Stadtarchiv Hofheim am Bern (Zurich, 2018), pp. 155–66. of 1912 (no. 1113). The review was written in res- Taunus, call no. 02.K6, Hausbibliothek. 22 Hodler employed precisely this device in his ponse to that presentation. See Anonymous, 46 Rök 1999 (see note 20), pp. 198−200. Study of the Niesen; Ferdinand Hodler, Study “Zürcher Kunstleben,” Neues Winterthurer 47 She exhibited Girl on a Grassy Bank, 1898 (ibid., of the Niesen, 1910, pencil on paper, Musée Tagblatt, April 23, 1919, transcript, Roeder- cat. rais. no. 430), thought to have been exe- d’art et d’histoire, Cabinet des dessins, Geneva, stein-Jughenn Archive, call no. OR 24. cuted in her Städel studio in collaboration with Carnet, inv. no. 1958-176/169_09; illustrated in 35 To achieve matt, fresco-like effects in his easel Pidoll, and ordered a series of reproductions Katharina Schmidt, ed., Ferdinand Hodler: Eine paintings, Puvis de Chavannes did not limit of Marées’s works; a review in the Kölnische symbolistische Vision, exh. cat. Kunstmuseum himself to tempera paints but developed a Zeitung, no. 93, January 27, 1904 (see Roeder- Bern/Szépművészeti Múzeum, Budapest (Ost- wide range of techniques, for example the stein-Jughenn Archive, call no. OR 23), serves fildern, 2008), p. 244, fig. 1. admixture of fillers or the use of strongly to verify that Roederstein participated in 23 Ibid., p. 34. absorbent canvas primers; see Reinkowski- the 1904 Gedächtnisausstellung für Hans 24 Paul F. Schmidt, “Ottilie W. Roederstein: Zu Häfner 2014 (see note 8), p. 127 and note 1377. von Marées, Städtisches Museum Elberfeld, ihrem 60. Geburtstag,” Frankfurter Allgemeine 36 Krüger 2019 (see note 32), p. 10; see Aimée Wuppertal, to which she contributed at least Zeitung, April 1919, transcript, Roederstein- Brown Price, “Puvis de Chavannes’s Critical five works. See also Roederstein-Jughenn Jughenn Archive, call no. OR 24. Fortune,” in Serge Lemoine, ed., From Puvis Archive, call no. OR 33, Biografie, vol. 2. 25 OWR used the term “Weimar tempera” to re- de Chavannes to Matisse and Picasso: Toward 48 Ausstellung von Werken Hans von Marées, fer to Weimar Farben saponified through the Modern Art, London, 2002, pp. 61–69. exh. cat. Frankfurter Kunstverein (Frankfurt addition of a wax soap marketed as “fig milk”. 37 Puvis de Chavannes to OWR, letter of admit- am Main, 1909). On the further reception of Weimar Farben were oil-resin paints developed tance to the Société nationale des beaux-arts, Marées after 1909, see Gerd Blum, “Hans von by Felix Hass at the Grossherzoglich-Sächsi- July 17, 1891, Roederstein-Jughenn Archive, Marées—Der Maler als Modell: Werk und sche Kunstschule in Weimar around 1906. The call no. OR 3. Wirkung zwischen Moltke und Duchamp,” in Gerhard Finckh and Nicole Hartje-Grave, addition of artificial “fig milk” yielded a “tem- 38 Rök 1999 (see note 20), cat. rais. nos. 1108 eds., Hans von Marées, exh. cat. Von der pera-like” emulsion paint. The paint system, (1917), 1156, 1157, 1168. consisting of Weimar Farben, “fig milk” (a resin Heydt-Museum (Wuppertal, 2008), pp. 11−25, 39 See Viola Radlach, “Das Werk im Kontext painting medium), and a siccative, was distrib- here pp. 24–25. seiner schriftlichen Zeugnisse,” separatum in uted from 1907 into the forties; see the supple- 49 Photo in the Jughenn catalogue raisonné, vol. Franz Müller and id., Cuno Amiet: Die Gemälde ment “Die Weimar-Farbe,” Münchner Kunst- 3g, Roederstein-Jughenn Archive, call no. OR 1883–1919, 2 vols., vol. 1 (Zurich, 2014), technologische Blätter, vol. 2, no. 24, 1906; 12. Not only the collection of photographs in pp. 29−43, here p. 32. ibid., vol. 3, no. 13, 1907; ibid., vol. 4, no. 7, 1907; OWR’s estate, but also her correspondence vol. 4, nos. 8 and 18, 1908; ibid., vol. 6, no. 12, 40 Reinkowski-Häfner 2014 (see note 8), p. 208. with Madeleine and Jeanne Smith clearly indi- 1910; ibid., vol. 8, no. 1, 1911. For more on the 41 Of interest in this connection, however, is a cate that she was active as a photographer subject, see Reinkowski-Häfner 2014 (see letter of September 18, 1924 to OWR from a herself; BnF/Smith, vol. VIII, nos. 32r, 34r/v, 84v, note 8), pp. 375–76. hitherto unidentified painter which has come 136r, 162r, 300v; vol. IX, no. 54r. 26 Lebenslauf of 1928 (see note 3). down to us in the Roederstein-Jughenn 50 The works in question are: Rök 1999 (see note Archive, call no. OR 65. The painter reports 27 Anonymous, “Die Weimar-Farbe,” Münchner 20), cat. rais. nos. 1067−72, 1074, 1077, 1078, at length about his work on a wall painting, Kunsttechnologische Blätter, vol. 4, no. 7, 1907, 1080, 1108, 1109. describing all of the technical details. He had pp. 25–26. 51 Fritz von Hochberg to OWR, February 10, 1917, been sent casein paints instead of the tempera Roederstein-Jughenn Archive, call no. OR 26; 28 Wilhelm Schölerman, “Die ‘Weimarfarbe,’” he had ordered. He also relates how the casein see Rök 1999 (see note 20), p. 65; see also in ibid., vol. 8, no. 1, 1911, pp. 1–2. paints take on a lighter shade when dry, and Ottilie W. Roederstein (1859–1937): Eine 29 April-Ausstellung , exh. cat. Kunsthaus (Zurich, how the procedure and the effect resemble Malerin in Hofheim, exh. cat. Rathaus und 1914), nos. 1−16. true fresco painting. From the letter it can be Haindlhof, edited by Hermann Haindl on behalf gathered that Roederstein was interested in 30 OWR to Wilhelm Wartmann, January 9, 1914, of the municipal administration of the city all these details. As there are no further letters Zürcher Kunstgesellschaft/Kunsthaus Zürich of Hofheim am Taunus and the Kunstverein from him or on this subject, the broader Archive, call no. 10.30.30.160a.roeder- Hofheim e. V. (Hofheim, 1980), pp. 20 and 26. stein.19140109. context remains unclear. 52 Fritz von Hochberg to OWR, September 26, 42 OWR to Madeleine Smith, April 3, 1895, BnF/ 31 Amiet’s tempera experiments have been the 1916, Roederstein-Jughenn Archive, call no. Smith, vol. IX, no. 43. She adopted the group subject of in-depth investigation; see Karoline OR 26; There is a second identical version of of three youths in her painting Three Monks of Beltinger, Kunsttechnologische Forschungen this protrait (also dated 1916), whose where- 1897 from Filippino Lippi’s fresco Crucifixion of zur Malerei von Cuno Amiet 1883−1914 (Zurich, abouts are today unknown, and a matching St. Peter, Brancacci Chapel, Chiesa Santa Maria 2015) (Kunstmaterial, Schweizerisches Institut drawing; see Rök 1999 (see note 20), cat. rais. del Carmine, Florence; Jughenn 1897-18 (Rök für Kunstwissenschaft, vol. 3); for a general nos. 1052 and 1102; see also Roederstein-Jugh- 1999 [see note 20], cat. rais. no. 358). The discussion of tempera painting in Switzerland, enn Archive, call no. OR 30. see ibid., pp. 36−50. painting was destroyed during World War II. 53 Rök 1999 (see note 20), p. 65. 32 Matthias Krüger, “Paragone between Oil and 43 Reinkowski-Häfner 2014 (see note 8), p. 143. 54 Five ukiyo-e once belonging to Roederstein Tempera,” in Patric Dietemann et al., eds.,

128 and Winterhalter are now in private owner- 59 Hans Bartolo Brand, Der Akkord- und Quin- H. Winterhalter, Paris, October 14, 1937, ship. Apart from the woodblock print by tenzirkel der Farben und Töne: Ein einfaches Roe derstein-Jughenn Archive, call no. OR 38. Bunrō, they are works by Utagawa Toyohiro Gesetz der Farbenharmonie (Munich, 1914). In 1927 she wrote that she had seen works by (1773–1828), Katsushika Hokusai (1760−1849), 60 Ibid., pp. 1–2. Edvard Munch at the museum in Berlin (Neue Toyokuni (I ?), and Utagawa Hiroshige (1797– Abteilung der National-Galerie) and been “very 61 Adolf Hölzel, “Über künstlerische Ausdrucks- 1858). My thanks to Stephan von der Schulen- delighted” by much of what she saw; OWR to mittel und deren Verhältnis zu Natur und Bild,” burg, curator of the East Asian Collection Winterhalter, Berlin, April 6, 1927, ibid., call no. Die Kunst für Alle: Malerei, Plastik, Graphik, of the Museum An gewandte Kunst, Frankfurt OR 38. Architektur, no. 20, 1904, pp. 81–88, 106–13, am Main, for help in identifying the works. 121–42; see Ulrich Röthke, “‘Die Farbe ist das 64 OWR to Jeanne Smith, undated [September 8, 55 See Fotonachlass, Roederstein-Jughenn Complicierteste…’: Hölzels Farbenlehre im 1892], BnF/Smith, vol. VIII, nos. 228, 229. Archive, call nos. OR Foto 22-102, 22-114. Kontext seines Kunstunterrichts,” Kunst- 65 Anonymous, “Ausstellung Roederstein— 56 On the reception of Japanese art in France, geschichte Open Peer Reviewed Journal, 2011, Nussbaum im Kunstsalon Schneider,” Frank- see Monet, Gauguin, van Gogh … Inspiration § 3, https://www.kunstgeschichte-ejournal. furter Allgemeine Zeitung, November 8, 1913, Japan, exh. cat. Museum Folkwang, Essen/ net/312/1/Farbenlehre.pdf (accessed July 14, transcript, Roederstein-Jughenn Archive, call Kunsthaus Zürich (Göttingen, 2014). 2020). no. OR 24. 57 O. W. Roederstein. Zum 70. Geburtstage, exh. 62 On Hölzel’s contact to Wilhelm Schäfer, see 66 OWR to Hanna Bekker vom Rath, undated cat. Frankfurter Kunstverein (Frankfurt am Röthke 2011 (see note 61), § 11–12. [presumably 1925], Hanna Bekker vom Rath Main, 1929), n. p. 63 As late as October 1937, Roederstein reported Archive, Frankfurt am Main. 58 Rök 1999 (see note 20), pp. 146−48; see ibid., to her partner about the Paris world’s fair, cat. rais. nos. 1065, 1115, 1116, 1118, 1123, 1124, adding that she had visited an exhibition of 1140, 1147. “very modern Frenchmen”; OWR to Elisabeth

129 130 Cat. 59 Fritz von Hochberg 1917 Tempera on paperboard, 45 × 28.4 cm Stadtmuseum Hofheim am Taunus Cat. 58 Fritz von Hochberg 1916 Tempera on canvas, 50.5 × 36 cm Private collection

131 Cat. 60 Cat. 61 David Charton Erna Pinner with Serbian Cap 1917 1917 Tempera on paperboard, 49 × 32.2 cm Tempera on paperboard, 41 × 32 cm Kunsthaus Zürich, Collection of Prints Kunsthaus Zürich, Collection of and Drawings, 1925 Prints and Drawings, 1925

Cat. 62 Tilde Battenberg 1917 Tempera on paperboard, 49.5 × 32 cm Private collection

132 133 Cat. 63 Cat. 64 Jeanne Smith Irmgard Fischer 1917 1917 Tempera on paperboard, 36 × 23 cm Tempera on paperboard, 49.4 × 32.5 cm Private collection Kunsthaus Zürich, Collection of Prints and Drawings, 1925

Cat. 65 Old Woman or Old Peasant Woman 1918 Tempera on canvas, 76.5 × 54.5 cm Stadtmuseum Hofheim am Taunus

134 135 Cat. 66 Lilly Hauck 1916 Tempera on canvas, 69.7 × 48 cm Private collection, Frankfurt am Main Cat. 67 Clärchen Pfeiﬀer or Green Necklace 1920 Oil on canvas, 64 × 49.5 cm Stadtmuseum Hofheim am Taunus

136 137 Cat. 68 Worldly Wisdom or Three Women Turning Away from the World 1926 Tempera on canvas, 46 × 73 cm Stadtmuseum Hofheim am Taunus

138 139 Cat. 69 Emma Kopp in a Coat 1910 Charcoal and chalk, heightened in white, on laid paper, 51.3 × 45.5 cm Stadtmuseum Hofheim am Taunus

Cat. 70 The Hypochondriac or Convalescence 1932 Oil on canvas, 66 × 54 cm Property of the Swiss Confederation, Federal Office of Cuture, Berne

140 141 Cat. 71 Alexander Leo von Soldenhoﬀ ca. 1915 Charcoal and chalk, heightened in white, on canvas, 85 × 60 cm Historisches Museum Frankfurt

Cat. 72 Saint-Cyr Cadet 1911 Oil tempera on canvas, 100 × 65 cm Kunsthaus Zürich, 1914

142 143 Cat. 73 Twins with Alsatian and Whip 1916 Tempera on canvas, 128.5 × 75 cm Stadtmuseum Hofheim am Taunus

144 Cat. 74 Elisabeth H. Winterhalter with Alsatian 1912 Tempera on canvas, 81 × 65 cm Ralf Weber, Hofheim

145 Cat. 75 Portrait of Alexej von Jawlensky 1929 Oil on canvas, 64 × 48.7 cm Städel Museum, Frankfurt am Main

146 Cat. 76 Meta Quarck-Hammerschlag 1926 Oil on canvas, 55 × 46 cm Historisches Museum Frankfurt

147 Cat. 77 National Councilor Hermann Häberlin, M.D. 1932 Oil on canvas, 65.5 × 51 cm Kunsthaus Zürich, donated by the artist, 1932

Cat. 78 The Climber (Hermann Jughenn) 1930 Tempera on canvas, 64 × 44.5 cm Stadtmuseum Hofheim am Taunus

148 149 150 Cat. 80 Cat. 81 Still Life with Christmas Quinces Roses, Pitcher, and Vases 1929 1930 Tempera on canvas, 38.3 × 46.3 cm Oil on canvas, 46 × 38.5 cm Kunstmuseum Bern, Private collection gift of the artist

Cat. 79 Purple Irises ca. 1910 Tempera on canvas, 49.5 × 40 cm Private collection, Zurich

151 Cat. 82 Still Life with Painting Utensils 1930 Oil and tempera on canvas, 50 × 33.5 cm Kunsthaus Zürich, 2019 Cat. 83 Colorful Bouquet 1934 Oil on canvas, 66 × 46.5 cm Private collection

152 153 Roederstein as Art Collector and Patron

/ Sandra Gianfreda

154 155 Fig. 1 The dining room in the Roederstein- Winterhalter home ill. in: Wohnungskunst, no. 1, 1909/10, first October issue, 1909, p. 259

nformation about when Ottilie W. Roederstein began collecting art is nowhere to be found in the sources. From her father Reinhard Roederstein, who died in Zurich on January 3, 1891, she inherited a portrait by the Swiss portraitist of the Neoclassical era IFelix Maria Diogg.¹ She presumably received works from many of her artist friends as gifts or in exchange for works of her own. It was by this route that she acquired, for example, a drawing of a child’s head by the Frankfurt-based painter Wilhelm Altheim in 1897 (at the latest) and a self-portrait by her former pupil and Zurich friend Sigismund Righini in 1914.² Thanks to a list drawn up by Hermann Jughenn as well as other sources, we now know that Roederstein possessed at least one hundred works by seventy-six artists active primarily in Germany, France, and Switzerland.³ She was personally acquainted with many of them, for instance Cuno Amiet, Louise Catherine Breslau, Alice Dannenberg, Othon Friesz, Ferdinand Hodler, Elizabeth Nourse, Karl Schmidt-Rottluff, Norbert Schrödl, Marie Sommerhoff-Bertuch, Annie Stebler-Hopf, and Martha Stettler. In addition to pieces by contemporaries, she also owned older works by artists such as Ignaz Bergmann, Gustave Courbet, Eugène Delacroix, Édouard Manet, Jean-François Millet, Pierre-Paul Prud’hon, and Johann Nepomuk Strixner. For the most part her collection consisted of paintings and works on paper, with a focus on landscapes, genre paintings, and still lifes. We know that later on Asian sculptures and vessels also decorated her home in Hofheim am Taunus (figs. 1 and 2). The painter moreover possessed what she took to be a still life by Vincent van Gogh and two paintings by Camille Corot. During World War I, she sold the Still Life with Flowers and Fruits (fig. p. 164), which—still considered a work by Van Gogh at the time— she had previously placed on loan to the Sonderbund exhibition in Cologne in 1912 and the Frankfurter Kunstverein in 1913.⁴ The sale evidently came about, in part, at the en- treaty of a certain, as yet unidentifiable Mr. Lust, and, in part, as a way of liquidizing as- sets in that difficult period of the war years. Around 1920, to her great astonishment, she learned from the later owners Adalbert and Hedwig Ullmann of Frankfurt am Main that Jacob-Baart de la Faille, author of the catalogue raisonné of Van Gogh’s works, did

156 Fig. 2 The foyer in the Roederstein- Winterhalter home ill. in: Wohnungskunst, no. 1, 1909/10, first October issue, 1909, p. 258

not recognize the painting as a genuine work by the Dutch master.⁵ To date it has remained a mystery where exactly she purchased the supposed Van Gogh.⁶ From her own records she merely states that she had acquired it in Paris around 1908/09. She may have lent the painting to the Künstlerhaus Zurich as far back as 1908 for its Fran- zösische Impressionisten exhibition.⁷ The two paintings regarded as Corots at the time were a half-length portrait of a man and a townscape. Roederstein placed both at the disposal of the Kunsthaus Zürich in 1934 for a major Corot exhibition, and subsequently offered them as donations. It can no longer be determined with certainty whether the museum decided against hanging the works for lack of space, as the director Wilhelm Wartmann communicated to her on August 17, 1934,⁸ or because the collection committee already entertained doubts as to their authenticity, as recorded in committee minutes of January 25, 1935.⁹ The two works were supposed to be returned to the artist,¹⁰ but for hitherto unexplained reasons are still in the storage rooms of the Kunsthaus Zürich today. They presumably remained in Zurich at the artist’s request and, after her death in 1937—and in the turmoil of World War II—fell into oblivion. Roederstein presumably purchased many of the works of French provenance in her collection during her stays in Paris. Her art dealer of choice was most likely the gallery at 25 Rue Victor Massé, opened in December 1901 by Berthe Weill, who specialized in young artists of the Parisian avant-garde. In 1907, she bought a work there by Rodolphe Fornerod (fig. p. 163), a Swiss artist who lived and worked in Paris, as well as one by Jean Metzinger and one by the young painter Gabrielle Portait-Darcy.¹¹ The same year, she purchased Maurice Denis’s painting Mother and Child in a Garden by the Sea from the Galerie Eugène Druet, evidently for 2000 francs.¹² Druet, who had opened his establishment in 1903, likewise concentrated on young talents.¹³ Three years later she acquired Entrance to Cassis by Othon Friesz (cat. 90).¹⁴ She purchased the painting A Tree (cat. 87) by Henri Edmond Cross in 1907, possibly also from Druet or from the Galerie Bernheim-Jeune.¹⁵ And she may have bought Felix Vallotton’s Interior with Red

157 Armchair and Figures (cat. 98) at an auction at the Hôtel Drouot on March 24, 1900.¹⁶ Roederstein also purchased works directly from artists, for example Cuno Amiet in 1907 (cat. 84) and Alexej von Jawlensky in 1928.¹⁷ She thus seems to have amassed a major portion of her collection around 1907, a point in her life when she was quite well- situated. It is interesting to note that she appreciated the work of many of her contemporaries even when—or perhaps precisely because—they pursued an ideal of art different from her own.

Loans to Exhibitions

Roederstein presumably made her first appearance as a lender in conjunction with a Franco-German group show called the Erste gemeinsame Ausstellung einer Gruppe deutscher u. französischer Künstler that opened at the Galerie Schulte in Berlin on December 8, 1907. The painter Ida Gerhardi, a German friend of hers, had organized the show, which brought together works by contemporary artists.¹⁸ The accompanying catalogue, however, does not specify which of the works had come from the “Kollektion aus dem Besitz von O. W. Röderstein – Frankfurt a. M.”¹⁹ In early 1908, in collaboration with Wilhelm Schäfer, the German writer and editor of the art periodical Die Rheinlande, and her fellow painter Ernst Würtenberger, Roederstein was involved in the making of the all- Swiss show, the Ausstellung von Werken Schweizer Künstler, presented by the Verband der Kunstfreunde in den Ländern am Rhein at the invitation of the Frankfurter Kunst- verein.²⁰ She lent the organization works by Amiet (cat. 84) and Giovanni Giacometti (cat. 91) for the show.²¹ The exhibition Französische Impressionisten that opened at the Künstlerhaus Zürich on October 1, 1908, however, was the one Roederstein supported most generously with loans. The survey of the development of French Impressionist and Post-Impres- sionist painting was an absolute novelty for Switzerland.²² It was the first show ever to be compiled there with a view to art-historical criteria and to include examples by de- ceased artists. Until then, the Zürcher Kunstgesellschaft (the first patron society be- hind the Künstlerhaus and later Kunsthaus Zürich) had concentrated on exhibiting works by contemporary, chiefly Swiss artists, in most cases also offering them for sale. Elimar Kusch, the secretary of the society at the time, had initially approached Roeder- stein in June 1908, having heard that she was interested in exhibiting her “substantial, superb” collection of works by French artists.²³ As she possessed primarily paintings by followers of Impressionism, she recommended that Kusch contact Wilhelm Uhde for the Impressionist section. The German writer and art dealer Uhde, who lived in Paris at the time, thus became involved in the undertaking as an intermediary between the Zürcher Kunstgesellschaft and the two prestigious Parisian galleries Durand-Ruel and Bernheim-Jeune. The result was an impressive show, and one quite exceptional for Zurich standards. It united altogether 102 works, of which twenty are thought to have been on loan from Roederstein.²⁴ With the aid of the catalogue entries, it has been possible to identify at least ten of these with relative certainty.²⁵ Roederstein once again acted as a lender and committee member on the occasion of a 1912 exhibition of “classical” French painting of the century just past, held at the Frankfurter Kunstverein and entitled Die klassische Malerei Frankreichs im 19. Jahrhun- dert, for which she lent examples by Auguste Boulard, Gustave Courbet, Henri Edmond Cross (cat. 87), and Henri Fantin-Latour (cat. 88).²⁶ Encompassing 127 works, this show offered a survey of the development of modern French painting with the aim of under- scoring its significance for modern art. By holding the show, the Frankfurt society thus aligned itself with the liberal side of a controversial and passionately conducted public debate over French art in Germany and the supposed ‘tidal wave’ of works from the

158 neighboring country in German museum collections at a time of resurging nationalist rivalry. In view of her loans and, naturally, the focus of her collection, Roederstein’s stance on the matter was clear.²⁷

Donations to Museums

It was in 1914 that the painter, now a resident of Hofheim, first donated a work from her collection to the Kunsthaus Zürich: Hodler’s drawn and signed composition study Dietegen Covers the Confederate Retreat (cat. 93) for the Marignano frescoes at the Landesmuseum Zürich (National Museum Zurich). The donation evidently came about at the request of then director Wilhelm Wartmann, with whom the artist was in contact at the time in connection with her participation in the Kunsthaus Zürich’s 1914 April-Ausstel- lung. On January 13 of that year, Wartmann confirmed receipt of the drawing, and a letter of January 17 officially thanks Roederstein for the gift.²⁸ In September 1919, Roederstein again approached the Kunsthaus Zürich with the aim of making a donation. In the collection committee minutes of September 15, Wart- mann reports on a conversation with the native Zurich painter: “The artist has designated the Zürcher Kunstgesellschaft as the recipient of her collection of paintings by French masters and, owing to the present uncertain circumstances in Germany, would already like to place the works by the modern French artists as well as 1 painting by Amiet and one by Giacometti at the museum’s disposal, with the express authorization to sell individual works that, for any reason whatsoever, are not desirable for the collection, and to utilize the proceeds at our discretion. The committee are to make decisions as to possible sales in consultation with Dr. Trog and Dr. Wartmann, whom Miss Roederstein has entrusted with the transfer of the works. Currently consigned to Mr. Schäfer's keeping in Ludwigshafen, the works by Dufy (1), 1 Cross, 2 Othon Friesz, 1 Laurencin, 1 Puy, 1 Guillaumin, 1 [2] Camoin, 1 Rignault, 1 Ranson, 1 Marquet, 1 Vlaminck, 1 Vallotton (Dr. Trog presently has the exact list) await retrieval by the Zürcher Kunstgesellschaft as its property. Miss Roederstein is unable, at present, to include in her donation works by older French artists such as Manet, Corot, Delacroix—which she originally also intended for the Zürcher Kunstgesellschaft—as, owing to the uncertain circumstances of the current times, she must retain the possi- bility of selling one or the other of them.”²⁹ The committee were delighted and voted to accept the donation. Wartmann then contacted Wilhelm Schäfer to arrange for the shipment of the paintings to Zurich. On February 6, 1920 Wartmann wrote to Roederstein to confirm receipt of the fourteen works of recent French painting and two by Swiss artists.³⁰ The museum immediately placed the paintings on display in the reception area of its new premises at Heimplatz.³¹ Along with the bequests of Richard and Mathilde Schwarzenbach and Hans Schuler, which both came about in 1920, Roederstein’s donation opened the Kunsthaus Zürich collection to European—and not merely Swiss—art.³² The fourteen paintings by French artists of the then present formed the “foundation for a department of modern French painting at the Kunsthaus,” as Wartmann wrote the artist in 1929.³³ In 1966, however, the time came for the Kunsthaus Zürich to part with four works from this donation. To raise the funds needed to purchase Édouard Vuillard’s Large Interior with Six Figures of 1897, the Zürcher Kunstgesellschaft sold several works from the Kunsthaus collection through the agency of various dealers. On October 5, the paintings by Raoul Dufy , Marie Laurencin, Albert Marquet, and Maurice de Vlaminck (figs. pp. 163–65) thus passed into the possession of the Galerie Beyeler in Basel, which sold three of them to the Galerie Alex Maguy in Paris the very same day.³⁴

159 In 1935, Roederstein wrote to the Kunsthaus about the second part of her collection of French art, which had already been referred to in the collection committee minutes of 1919. Her offer included the abovementioned Corot paintings, which the committee turned down. The committee did, however, hope to acquire the artist’s other paintings by French masters at a later date and was especially interested in a large landscape by Courbet (referred to as “Deer before a Grotto”). This painting came to Zurich in December 1935 in conjunction with a major Courbet exhibition at the Kunsthaus, but according to the catalogue was not, in the end, featured in the show.³⁵ It then passed into the possession of Roederstein’s younger sister Helene Schelbert, who lived in Zurich;³⁶ after that, all traces of it were lost. In 1936, at the age of seventy-seven, the artist moreover contemplated willing “various other good paintings” from her collection to the Thurgauisches Kunstmuseum in Frauenfeld that was to be founded on the initiative of the former Swiss Federal Coun- cilor Heinrich Häberlin.³⁷ However, apart from the abovementioned painting by Diogg and the self-portrait she sent to Häberlin in September of that year,³⁸ this donation never came about—nor did, for that matter, the construction of the planned museum.³⁹ It can thus be assumed that, after Roederstein’s death in 1937, her collection continued to bring joy to her partner Elisabeth H. Winterhalter. In 1944, Winterhalter parted with Redon’s Bouquet in a Brown Earthenware Vase (cat. 97) when she bequeathed it to the Städel Museum in Frankfurt. After her death in 1952, Henri Fantin-Latour’s Flower Still Life: Autumn Chrysanthemums in a White Vase of 1889 (cat. 88) likewise made its way into the Städel Collection.⁴⁰ The other works were distributed among Roeder- stein’s and Winterhalter’s heirs.⁴¹

My thanks to Simon Crameri, Yves Guignard, Othon Friesz, Giovanni Giacometti, Vincent 1912), no. 9. OWR was a member of the honor- Eva-Maria Höllerer, Stefan Koldehoff, Markus van Gogh (or rather then attributed to), Rudolf ary committee for the promotion of the exhi- Landert, Marianne Le Morvan, Ursula Marchetti, Gudden, Paul Guigou, Armand Guillaumin, bition; see Barbara Schaefer, ed., 1912—Mission Marie-Claire Rodriguez, Barbara Rök, Joachim Carl Heindel, Auguste Herbin, Ferdinand Moderne: Die Jahrhundertschau des Sonder- Sieber, and Fabienne Stahl for providing me with Hodler, Beatrice How, Alexej von Jawlensky, bundes, exh. cat. Wallraf-Richartz-Museum & important pointers. Émile Joseph-Rignault, Wilhelm Kalb, Carolina Fondation Corboud (Cologne, 2012), pp. 77, Kempter, Emma Kopp, Rudolf Kowarzik, Marie 535, no. 9; Frankfurter Kunstschätze: Eine Aus- Laurencin, Édouard Manet, Georges Manzana- wahl der schönsten und wertvollsten Gemälde 1 OWR to Heinrich (Heinz) Häberlin, September Pissarro, Albert Marquet, Jean Metzinger, des 19. Jahrhunderts aus Frankfurter Privat- 16, 1936, Roederstein-Jughenn Archive in the Jean-François Millet, Adolphe Monticelli, Eliza- besitz, exh. cat. Frankfurter Kunstverein Städel Museum, Frankfurt a. M. (in the follow- beth Nourse, Gabrielle Portait-Darcy, Pierre (Frankfurt am Main, 1913), no. 26 with ill. ing abbreviated as “Roederstein-Jughenn Paul Prud’hon, Jean Puy, Paul Ranson, Odilon Archive”), call no. OR 4. Diogg’s Portrait of 5 Draft of a letter from OWR to Hedwig Ullmann, Redon, Théodule Ribot, Sigismund Righini, Karl a Gentleman is now in the collection of the undated [ca. 1920], Roederstein-Jughenn Schmidt-Rottluff, Norbert Schrödl, Maria Som- Kunstmuseum Thurgau, Warth, Switzerland, Archive, call no. OR 38. merhoff-Bertuch, Annie Stebler-Hopf, Milly inv. no. D 2017.266. 6 Stefan Koldehoff is currently researching the Steger, Martha Stettler, Fried Stern, Johann matter and was able to establish the painting’s 2 Roederstein-Jughenn Archive, call no. OR 32: Nepomuk Strixner, Marie Swarzenski-Mössing- present whereabouts. I thank him kindly for typescript on the painter Altheim; OWR to er, Constant Troyon, Félix Vallotton, Maurice this information. Sigismund Righini, June 2 and June 8, 1914, de Vlaminck, Olga Weiss, (Lilli Kerzinger-[?]) ibid., call no. OR 27. Werth, Hans Zürcher, and five further uniden- 7 Französische Impressionisten, exh. cat. Künst- 3 Roederstein owned works by the following tifiable artists. She also possessed Japanese lerhaus (Zurich, 1908), no. 60 (VIII series); see artists: Wilhelm Altheim, Cuno Amiet, Ignaz color woodblock prints by Bunrō, Utagawa also the section “Loans to Exhibitions” in this Bergmann, Fritz Boehle, Auguste Boulard, Toyohiro, Toyokuni (I?), Utagawa Hiroshige, contribution. In 1910, the Zürcher Kunstgesell- Louise Catherine Breslau, Charles Camoin, and Katsushika Hokusai, and a pentaptych schaft opened a new museum building which Claudio Casteluccho, “Cat.” (?), Camille Corot by a hitherto unidentified Japanese color from then on was called the Kunsthaus Zürich. (or rather then attributed to), Gustave Cour- woodblock artist. 8 Wilhelm Wartmann to OWR, August 17, 1934, bet, Henri Edmond Cross, Alice Dannenberg, 4 Internationale Kunst-Ausstellung des Son- Zürcher Kunstgesellschaft/Kunsthaus Zürich Eugène Delacroix, Maurice Denis, Narcisse derbundes westdeutscher Kunstfreunde Archive (in the following abbreviated as “ZKG/ Diaz de la Peña, Felix Maria Diogg, Raoul Dufy, und Künstler zu Cöln, exh. cat. Städtische KHZ Archive”), call no. Archiv 2001/002:058, Henri Fantin-Latour, Rodolphe Fornerod, Ausstellungshalle am Aachener Tor (Cologne, p. 58.

160 9 Minutes of the collection committee meeting, pp. 63–91, here pp. 79–80. Wilhelm Uhde was 32 Wilhelm Wartmann, Die Sammlungen im January 25, 1935, Pkt. IV.i (Nachtrag), p. 7, ZKG/ also involved in the organization of this exhibi- Zürcher Kunsthaus (Zurich, 1933), pp. 1–76, KHZ Archive, call no. Archiv 10.30.10.41:1935. tion; see the letter from Gerhardi to Karl Ernst here pp. 38–39 (Neujahrsblatt Zürcher 10 Minutes of the collection committee meeting, Osthaus, July 13, 1907, in Gerhardi 2012 (see Kunstgesellschaft). March 15, 1935, Pkt. III.3, p. 3, ZKG/KHZ note 13), pp. 267–68, no. 213. 33 Wilhelm Wartmann to OWR, April 20, 1929, Archive, call no. Archiv 10.30.10.41:1935; 19 See Peter Kropmanns, “Cézanne, Gauguin, van ZKG/KHZ Archive, call no. Archiv 2001/001:058, Wilhelm Wartmann to OWR, April 20, 1935, Gogh, Matisse und die Fauves: Ausstellungen p. 167. ibid., call no. Archiv 2001/001:077, p. 233. französischer Moderne in Berlin, Dresden und 34 Work files in the Kunsthaus Zürich collection 11 Berthe Weill to OWR, June 13, 1907, Roeder- München 1904–1909,” in Expressionismus in archive; minutes of the collection committee stein-Jughenn Archive, call no. OR 153; on the Deutschland und Frankreich: Von Matisse zum meetings, April 30, July 12, and July 19, 1966, subject of Weill, see Marianne Le Morvan, Blauen Reiter, exh. cat. Kunsthaus Zürich et al. ZKG/KHZ Archive, call no. Archiv 10.30.10.42 Berthe Weill 1865–1951: La petite galeriste des (Munich et al., 2014), pp. 58–78, here p. 68. a:1965–1966; as well as information kindly pro- grands artistes (Paris, 2011); Berthe Weill, 20 See the contribution by Eva-Maria Höllerer in vided by Simon Crameri, Fondation Beyeler, Pan…! Dans l’œil! (Paris, 1933); https://www. this publication, pp. 110–29, here p. 117. Riehen/Basel. bertheweill.fr (accessed July 4, 2020). In 1908, 21 Ausstellung von Werken Schweizer Künstler, 35 Gustave Courbet, exh. cat. Kunsthaus OWR put the gallerist in touch with the Galerie exh. cat. Haus Herwig (Frankfurt am Main, (Zurich, 1935). Goldschmidt in Frankfurt, where Weill hoped 1908), nos. 6 and 35. 36 Wilhelm Wartmann to OWR, April 23, 1936, to sell works by the young Picasso; see Weill 22 See Lukas Gloor, Von Böcklin zu Cézanne: Die ZKG/KHZ Archive, call no. Archiv 2001/002:062, to OWR, September 1, 1908, Roederstein- Rezeption des französischen Impressionismus p. 491; Wartmann to OWR, December 5, 1936, Jughenn Archive, call no. OR 153; Weill 1933 in der deutschen Schweiz, Ph.D. diss. (Univer- ibid., call no. Archiv 2001/002:063, pp. 497–98. (see above), p. 150. At that time, OWR report- sität Bern 1984; Bern et al., 1986) (European edly also acted as a go-between for the sale of 37 OWR to Heinrich Häberlin, September 16, 1936, University Studies, Series 28: History of Art, paintings by Camoin, Friesz, Marquet, and de Roederstein-Jughenn Archive, call no. OR 4. vol. 58), pp. 111–18. Vlaminck to the art dealer Ludwig Schames of 38 OWR to Heinrich Häberlin, September 12, Frankfurt; see Barbara Rök, “Die bedeutende 23 Ibid., p. 112. 1936, ibid.; Barbara Rök, Ottilie W. Roederstein Individua lität unter den weiblichen Malern in 24 Elimar Kusch to OWR, September 17, 1908, (1859–1937)—Eine Künstlerin zwischen Tradi- Frankfurt: Ottilie W. Roederstein und ihr Weg ZKG/KHZ Archive, call no. Archiv 2002/011:013, tion und Moderne: Monographie und Werkver- in die Unabhängigkeit,” in Susanne Wartenberg p. 406. zeichnis, Ph.D. diss. (Philipps-Univer sität Mar- and Birgit Sander, eds., Künstlerin sein! Ottilie 25 From the “Group of older works”: no. 9 = burg, 1997), edited by Eva Scheid and published W. Roederstein, Emy Roeder, Maria von Heider- cat. 92 in this publication; no. 88 = cat. 95; no. on behalf of the municipal administration of Schweinitz, exh. cat. Museum Giersch, Frank- 89 = cat. 96; no. 90 = cat. 94; no. 99 = cat. 98; the city of Hofheim am Taunus—Stadtmuseum/ furt am Main (Petersberg, 2013), pp. 9–19, from the “Group of more recent and most re- Stadtarchiv on the occasion of the exhibition here p. 13. cent works”: no. 39 = cat. 85; no. 40 = cat. 86; of the same name (Marburg, 1999). OWR’s e 12 Anne Martin-Fugier, La vie d’artiste au XIX no. 46 = cat. 87; no. 53 = fig. p. 163; no. 57 = self-portrait was presumably sold between siècle (Paris, 2007), pp. 244–46. cat. 89 (?). 1994 and 2000 and is today in private ownership (information kindly provided by Markus 13 Ida Gerhardi to Karl Ernst Osthaus, June 7, 26 Die klassische Malerei Frankreichs im Landert, Kunstmuseum Thurgau/Ittinger 1907, in Ida Gerhardi, “Wozu die ganze 19. Jahrhundert, exh. cat. Frankfurter Museum, Warth). Welt wenn ich nicht malte”—Ida Gerhardi Kunst verein (Frankfurt am Main, 1912), (1862–1927): Briefe einer Malerin zwischen nos. 3a, 24, 27, and 50. 39 Karl Vogel, Fünfzig Jahre Kunstpflege im Paris und Berlin, a publication of the Thurgau 1934–1984: Eine kleine Geschichte 27 See Wulf Herzogenrath and Dorothee Hansen, LWL-Landesmuseum für Kunst und Kultur- der Thurgauischen Kunstgesellschaft (Romans- eds., Van Gogh – Felder: Das “Mohnfeld” und geschichte, Münster, ed. by Annegret Rittmann horn, 1984); see Roederstein-Jughenn Archive, der Künstlerstreit, exh. cat. Kunsthalle Bremen (Essen, 2012), p. 266, no. 212. The painting is call no. OR 34, Biografie, vol. 3. (Ostfildern-Ruit, 2002). presumably to be identified with the one exhib- 40 OWR had been to the posthumous Fantin- 28 OWR to Wilhelm Wartmann, January 9, 1914, ited a short time earlier at Bernheim-Jeune as Latour exhibition at the Palais of the École ZKG/KHZ Archive, call no. 10.30.30.160a.roe- Dans le jardin près de la mer. This painting was nationale des beaux-arts in Paris in 1906 and derstein.19140109; Wartmann to OWR, Janu- last auctioned on April 8, 1976 by Sotheby’s in made notes in her copy of the catalogue; she ary 13, 1914, ibid., call no. Archiv 2001/001:015, London (lot 222). was especially taken with the still lifes: she p. 411; Oberst Paul Ulrich and Wartmann to 14 Othon Friesz to OWR, May 13, 1910, Roeder- commented on nos. 70 and 118 by using the ad- OWR, January 17, 1914, ibid., p. 424. stein-Jughenn Archive, call no. OR 97. jective “prachtvoll” (splendid). It is not known 29 Minutes of the collection committee, Septem- whether OWR already owned her Fantin-La- 15 See Isabelle Compin, H. E. Cross (Paris, 1964), ber 15, 1919, Pkt. III. b, p. 62, ZKG/KHZ Archive, tour painting at the time (thanks to Barbara no. 138. Labels of both galleries are found on call no. Archiv 10.30.10.40:1918–1920. Rök for this pointer). The current whereabouts the work’s protective backing. 30 Wilhelm Wartmann to OWR, February 6, 1920, of her catalogue copy is unknown. According 16 Marina Ducrey, Félix Vallotton 1865–1925: ZKG/KHZ Archive, call no. Archiv 2001/001:030, to Winterhalter’s will, a bronze by Milly Steger L’œuvre peint, with the collaboration of Katia p. 4. As a token of thanks, the city council of from Roederstein’s art collection later likewise Poletti, 3 vols., vol. 2 (Lausanne, 2005), no. 256. Zurich gave her a copy of the Kunstmappe passed into the museum’s possession. How- 17 Cuno Amiet to OWR, July 13 and July 30, 1907, Zürich at the suggestion of H[einrich or Her- ever, to date it has not been possible to identify Roederstein-Jughenn Archive, call no. OR 144; mann?] Häberlin; see the minutes of the city this sculpture in the Städel holdings; see Tes- Alexej von Jawlensky to OWR, December 22, council of Zurich, September 20, 1919, of which tament Winterhalters, May 21, 1949, Roeder- 1928, ibid., call no. OR 20. an excerpt has come down to us in the Roeder- stein-Jughenn Archive, call no. OR 77. 18 Gora Jain, “Profession durch Strategie: Käthe stein-Jughenn Archive, call no. OR 3 Briefe, vol. 41 The only works whose whereabouts it has Kollwitz und Ida Gerhardi in den Künstlerin- 21, 1904–31. The portfolio contains prints by been possible to establish are the paintings by nen-Netzwerken zwischen Berlin und Paris,” five Zurich artists including Otto Baumberger Fornerod and Guigou, five Japanese woodcuts and Fritz Boscovits. in Susanne Conzen, ed., Ida Gerhardi: Deutsche (p. 125, fig. 13), a copy after Rembrandt, and a Künstlerinnen in Paris um 1900, exh. cat. Städ- 31 Zürcher Kunstgesellschaft, Jahresbericht 1920 bronze figurine of a boy pouring wine. tische Galerie Lüdenscheid (Munich, 2012), (Zurich, 1921), p. 9.

161 Works formerly in the Roederstein Collection

Cuno Amiet (1868–1961) Charles Camoin (1879–1965) Charles Camoin (1879–1965) Female Head (Annel) / Jardin de la Colline Puget Boats in the Harbor at Cassis / Tête de femme (Annel) (Marseille) Barques dans le port de Cassis 1906, oil on canvas, 56 × 50 cm ca. 1904, oil on canvas, 54 × 65 cm ca. 1905, oil on canvas, 53 × 65 cm Kunsthaus Zürich, donated by Kunsthaus Zürich, donated by Kunsthaus Zürich, donated by Ottilie W. Roederstein, 1920 Ottilie Roederstein, 1920 Ottilie W. Roederstein, 1920 Inv. no. 1291 Inv. no. 1293 Inv. no. 1292 Zurich only Zurich only Zurich only Cat. 84 Cat. 85 Cat. 86

162 Henri Edmond Cross (1856–1910) Raoul Dufy (1877–1953) Henri Fantin-Latour (1836–1904) A Tree / Un arbre Parisian Quay / Le quai de Paris Flower Still Life: Autumn Chrysan- 1905/06, oil on canvas, 32 × 40.5 cm 1906/07, oil on canvas, 38 × 46 cm themums in a White Vase / Nature Kunsthaus Zürich, donated by Fondation Bemberg, Toulouse morte aux ﬂeurs. Chrysanthèmes Ottilie W. Roederstein, 1920 d’automne dans un vase blanc Inv. no. 1294 1889, oil on canvas, 44.2 × 40.4 cm Zurich only Städel Museum, Frankfurt am Main Cat. 87 Inv. no. 2045 Cat. 88

Rodolphe Fornerod (1877–1953) Émile Othon Friesz (1879–1949) Émile Othon Friesz (1879–1949) Still Life / Nature morte Antwerp Harbor / Port d’Anvers Entrance to Cassis / 1907 at the latest, oil on canvas, 35 × 26 cm 1906, oil on canvas, 38 × 46 cm Entrée de Cassis Private collection Kunsthaus Zürich, donated by 1909, oil on canvas, 60 × 72 cm Ottilie W. Roederstein, 1920 Kunsthaus Zürich, donated by Inv. no. 1296 Ottilie W. Roederstein, 1920 Zurich only Inv. no. 1297 Cat. 89 Zurich only Cat. 90

163 Giovanni Giacometti (1868–1933) Vincent van Gogh (1853–1890; Armand Guillaumin (1841–1927) Lake in Engadin / Engadiner See attributed to at the time) Woman Reading / La liseuse ca. 1906/07, oil on Eternit panel, 55.5 × 60 cm Still Life with Flowers and Fruits / ca. 1900–10, oil on canvas, 55 × 46 cm Kunsthaus Zürich, donated by Nature morte avec des ﬂeurs Kunsthaus Zürich, donated by Ottilie W. Roederstein, 1920 et des fruits Ottilie W. Roederstein, 1920 Inv. no. 1298 Inv. no. 1299 undated, oil on canvas, 82 × 68 cm Zurich only Zurich only Private collection Cat. 91 Cat. 92

Ferdinand Hodler (1853–1918) Émile Joseph-Rignault (1874–1962) Marie Laurencin (1883–1956) Dietegen Covers the Confederate La Creuze In the Park (Two Women in Retreat / Dietegen deckt den Rück- ca. 1900–10, oil on canvas, 59 × 72.5 cm a Landscape) / Dans le parc zug der Eidgenossen Kunsthaus Zürich, donated by ca. 1912, oil on canvas, 38 × 46 cm (oval) 1898/99, pen and brush in black and gray, Ottilie W. Roederstein, 1920 Whereabouts unknown body color, on paper, 48 × 31.5 cm Inv. no. 1304 Kunsthaus Zürich, Collection of Prints Zurich only and Drawings, donated by Ottilie Cat. 94 W. Roederstein, 1914, Inv. no. 1039 Zurich only Cat. 93

164 Albert Marquet (1875–1947) Jean Puy (1876–1960) Paul Ranson (1861–1909) Quay / Quai Seascape / Marine Shore / Rivage ca. 1904/05, oil on canvas, 50 × 60.5 cm ca. 1900–10, oil on cardboard, 30 × 46 cm 1889, oil on canvas, 59.5 × 73 cm Whereabouts unknown Kunsthaus Zürich, donated by Kunsthaus Zürich, donated by Ottilie W. Roederstein, 1920 Ottilie W. Roederstein, 1920 Inv. no. 1302 Inv. no. 1303 Zurich only Zurich only Cat. 95 Cat. 96

Odilon Redon (1840–1916) Félix Vallotton (1865–1925) Maurice de Vlaminck (1876–1958) Bouquet in a Brown Vase / Interior with Red Armchair The Marne near Perreux / Bouquet dans un vase brun and Figures / Intérieur fauteuil Perreux sur Marne ca. 1900–16, Pastel chalk over black rouge et ﬁgures undated, oil on canvas, 46 × 54.5 cm chalk on wove paper, 53.8 × 41.5 cm 1899, gouache on cardboard, 46.5 × 59.5 cm Whereabouts unknown Städel Museum, Frankfurt am Main Kunsthaus Zürich, donated by Inv. no. 16035 Ottilie W. Roederstein, 1920 Cat. 97 Inv. no. 1305 Zurich only Cat. 98

165 “From My Sketchbook” The Roederstein-Jughenn Archive in the Städel Museum

/ Iris Schmeisser

166 167 “It was good that I began the work right away. The development of the situation both at home and abroad called for haste. If I had started today, the results would have been fragmentary, as most of Roederstein’s and Winterhalter’s friends are no longer alive. Many of them have also emigrated; some are missing. I knew them still. They all helped.” Hermann Jughenn to Hermann Hesse, March 6, 1954¹

n May 2019, the Städel Museum received a generous gift from a private collection— the extensive archival holdings from the estate of Ottilie W. Roederstein—for the purpose of scholarly analysis and research. The documents and photographs span Ithe artist’s entire biography and productive period. Her partner Elisabeth H. Winter- halter had turned them over to Hermann Jughenn (1888–1967), who had been a friend of the two women for many years. Over a span of more than two decades starting in 1937, he worked on systematizing these holdings and supplementing them with his own correspondence, photographs of the works, written memos, and material gathered in preparation for drawing up a biography and a catalogue raisonné. After his death in 1967, the collection remained in the attic of his house in Hofheim am Taunus. His catalogue raisonné was never published in the form he had intended.²

Hermann Jughenn and Ottilie W. Roederstein

Hermann Jughenn and Roederstein met in Hofheim in 1920 (fig. 1). A man more than thirty years the painter’s junior, Jughenn was neither an art historian nor an artist by education. He had been a civil servant at the state railroad company, the Reichsbahn³, since 1906, and lived with his wife and two daughters in circumstances conventional for the educated middle class. In his leisure time, he liked to draw and kept a sketchbook. He was apparently drawn to cultural nationalist ideas, and an enthusiastic Alpinist and “Heimat- forscher” (researcher of local traditions).⁴ An idealistically inclined, art-minded person, he was fascinated by Roederstein as an artist, and had already begun collecting reproductions of her works during her lifetime. When he finally began working on her biography he looked back on a nearly twenty-year connection to Roederstein. Once he wrote: “I’ve seen many of her most beautiful works in the making. I got to know many of the people she painted.”⁵ In the later years of their unconventional friendship, Roederstein also painted portraits of Jughenn and his family themselves (cat. 78).⁶ She moreover portrayed people she had met through him.⁷

168 Fig. 1 Ottilie W. Roederstein and Hermann Jughenn Hofheim am Taunus, ca. 1933, photograph, Roederstein- Jughenn Archive in the Städel Museum

The Biography and the Œuvre

Following Roederstein’s death on November 26, 1937, Jughenn began recording his mem- ories of her in writing. Then, on Winterhalter’s initiative and in close collaboration with her, he officially commenced work on a biography and a chronological catalogue of the artist’s œuvre.⁸ Apart from a publication by Clara Tobler and two short autobiographical texts, there were barely writings on her life and work.⁹ Nor had the artist herself ever drawn up a list of her works or a studio catalogue or inventory. On the other hand, she had remained in contact with many of the works’ owners; after all, they were often personal acquaintances of hers. In many cases, she corresponded with them, sometimes over decades until very late in life.¹⁰ The letters kept by Winterhalter went on to provide Jughenn with a firm basis for his biographical reconstruction of the painter’s life and work. Although he initially did not consider himself qualified for this task, he ultimately re- solved to take it on at Winterhalter’s express request.¹¹ He decided to model the project after Julius Meier-Graefe’s 1910 publication on Hans von Marées, a three-volume work comprising a “History of the Life and Work,” a catalogue raisonné, and a collection of letters and documents¹² The fact that Marées and his pupil Karl von Pidoll had been important artistic examples for Roederstein may have influenced Jughenn’s own decision to draw on Meier-Graefe. Not least, however, it is possible that he embarked on his project of documenting the life and work of a self-employed and self-determined woman artist for posterity out of a sense of moral commitment in light of the political

169 Fig. 2 circumstances under the Nazi dictatorship. In retrospect, Jughenn remarked: “What Ottilie W. Roederstein also encouraged me to set my inner misgivings aside was the course of political events Prof. Dr. Swarzenski in Germany, which saw intellectual barriers go up both within Germany and to the out- ca. 1907, painting, side world and kept people preoccupied with their own worries—including those who whereabouts unknown, undoubtedly would have been better suited to the task of collecting and ordering Roe- reproduction from: Kunst und Dekoration, no. 21, 1907, p. 9 derstein’s works and recording her life story….”¹³ Jughenn initially proceeded biographically and chronologically and, with the aid of Winterhalter but also the support of other persons who had been close to the artist— Fig. 3 including Hanna Bekker vom Rath, Julia Virginia Laengsdorff, Tilly Edinger, and Emma Ottilie W. Roederstein Dr. Sascha Schwabacher Kopp—began researching the stages of Roederstein’s life and recording his findings. Regular consultations with Winterhalter supplemented his study of historical sources. 1932, whereabouts unknown, reproduction, Roederstein- He entitled his biographical reconstruction project “Aus meinem Skizzenbuch O. W. Jughenn Archive in the Roederstein” (From My Sketchbook O. W. Roederstein).¹⁴ Städel Museum The Catalogue Raisonné and the Correspondence

Altogether twenty-seven consecutively numbered files labeled “Aus meinem Skizzenbuch O. W. Roederstein” of manuscripts and other material have come down to us in the Roe- derstein-Jughenn Archive. They comprise a biography illustrated with photographic portraits of the artist and reproductions, a chronological collection of letters, and an alpha- betical index of the original purchasers (in most cases including biographical information) and the works’ whereabouts at the time. A catalogue raisonné documenting—and for the most part illustrating—1800 works, including some 980 paintings, forms the collection’s core.¹⁵ Jughenn supplemented this catalogue with correspondence he conducted in the course of his work and some 700 exhibition reviews, the earliest dating from 1883. Over the course of his project, Jughenn wrote countless letters to presumptive owners or their heirs: the portraits’ subjects, private collectors, members of Roeder- stein’s and Winterhalter’s families, personal friends and acquaintances of the artist, and museums.¹⁶ He generally enclosed a list of questions about the owners’ names, contact information, number of works, titles, dates of execution, dimensions, and “remarks (notations on the works, etc.),” requesting the addressees’ answers for the purposes of the cataloging process. On July 26, 1941, for example, he wrote to Jeanne Smith

170 in Nogent-sur-Marne: “As I have been advised by Dr. E. H. Winterhalter, it is now possible to send letters to France again. I have long awaited this moment, as I need your kind information regarding various questions on the works by O. W. Roeder- stein executed in Paris and in France…. I’d like nothing better than to visit you in person…. However, the current circumstances do not permit such an under taking.”¹⁷ With Winterhalter’s help and the aid of the information provided by portrait subjects and original owners or their families, Jughenn succeeded in cataloging altogether 1800 works: paintings and works on paper. He managed to verify the existence of works by Roederstein “in America, Belgium, Ger- many, England, France, Holland, Italy, Austria, Pales- tine, Poland, Russia, and Switzerland.”¹⁸ He was even able to take photographs of many of the works on site at their locations in Germany and Switzerland. To date, however, it has only been possible to trace about a third of these 1800 works.¹⁹ As Jughenn’s index of owners illustrates, Roederstein portrayed numerous citizens in Frankfurt and Hofheim from the eighteen-nineties until her death. In about 1907, for instance, she made a likeness of Städel director Georg Swarzenski (fig. 2). Many of the city’s prominent figures at the time—whether from the area of art and culture, academia, or commerce—owned not just one but several works by the artist.²⁰ Altogether seven of her paintings, for in- Fig. 4 stance, entered the portrait collection of the Dr. Senckenbergische Stiftung. According Hermann Hesse to to Jughenn’s index, numerous private Jewish collectors in Frankfurt, many of whom Ottilie W. Roederstein were also patrons of the Städel Museum, had works by Roederstein in their possession, Berlin, January 16, 1935 among them Robert von Hirsch, Wilhelm Merton, Sidney Posen, and Carl von Weinberg. postcard, Roederstein- Jughenn Archive in the Just in this respect alone, the significance of the correspondence, but also the œuvre Städel Museum catalogue with its index of owners, can hardly be overestimated: the Holocaust virtually obliterated the biographical traces of many of Roederstein’s Jewish clients and original owners of her works (fig. 3).²¹ Sources such as letters and photographs in the Roederstein estate provide insights into the private life and circumstances of an artist who, despite the many personal challenges she faced and the historical upheavals of her time, proved capable of earning her livelihood with commissioned pieces over a period of more than sixty years. They also offer impressive testimony to the marriage-like partnership of two financially independent and highly esteemed women whose lives were closely interwoven for several decades. And they bear witness to the manifold contacts of an artist who—active in Switzerland, France, and Germany—had succeeded in maximizing her commercial success by means of a cleverly nurtured social network. The archive contains Roederstein’s correspondence with Winterhalter, close confidantes such as Tilly Edinger and Pauline Häberlin, artists such as Cuno Amiet (fig. p. 183), Carolus-Duran, Jean-Jacques Henner, Dora Hitz, Alexej von Jawlensky, Ludwig Meidner, Sigismund Righini, and Annie Ste- bler-Hopf, the amateur photographer Jeanne Smith, and writers, for example Hermann Hesse (fig. 4), Wilhelm Schäfer and Julia Virginia Laengsdorff.

171 The final phase of the artist’s career coincided with the Nazis’ early years in power. If she wanted to continue exhibiting and selling her works, she had to submit to state control through the Reichskammer der bildenden Künste (Reich Chamber of Fine Arts). The regime classified her as a “deutschstämmige Nichtreichsangehörige” (“non-Reich citizen of German descent”).²² The sources dating from the thirties shed light on how the conditions of her work changed under National Socialism. She continued to receive commissions for private portraits and still lifes, but also now executed official portraits of uniformed members of the Hitler Youth in a manner compliant with Nazi ideology.²³ Her strong doubts and conflicting feelings regarding these matters come to light in letters to close friends in which she reflects on the new circumstances.²⁴ Roederstein witnessed the ostracism and disfranchisement of her Jewish friends, acquaintances, and colleagues. Letters from this period reveal how the National Social- ists’ policies had a profound and devasting impact on the socially committed, cosmo- politan artist’s ideal of humanity.²⁵ On June 27, 1934, Ludwig Meidner wrote: “Dear, highly regarded Miss Roederstein, esteemed colleague! I have thought of you often over the past two years, because you of all people seem to me so very much to embody the essence and nature of the liberal era that is now, sadly, drawing to an end. You be- long to a type of person who will presumably disappear from the scene entirely over the coming decades to make way for a different kind, who shall bear a greater affinity to cannibalism.”²⁶

“For the future that would one day put them in order”

The Jughenn-Roederstein Archive counts altogether 160 call numbers—a quantity that, already in itself, conveys an impression of the archivist’s extensive and tireless reconstruction work. Despite the difficult years of the Nazi era Jughenn managed to preserve Roederstein's legacy and make a record of her ties with friends, clients, and artists. He himself described his dedicated project far too modestly when he said: “I only want to put what I have heard and experienced as one usually finds them in a sketchbook, often lacking context, with jumps in time, inventive and yet sometimes possessing a heartfelt freshness, always initially the products of a moment but destined for the future that would one day put them in order.”²⁷ The material also encompasses 1000 historical photos of widely varied provenances as well as entire photo albums from the Roederstein-Winterhalter estate that were in- tegrated into Jughenn’s archive. A part of the archival holdings—including a collection of photos, photographic plates, and slides, including reproductions of the works, as well as the two women’s private library, complete with its card index—is kept in the municipal archive of Hofheim. More than eighty years after its compilation, Hermann Jughenn’s archive on the artist’s life and work—like all archives a product of its time—can now be digitally system- atized, indexed, and made accessible to the public. Roederstein has hitherto received little notice in the canon of modern art. All the more important is Winterhalter’s and Jughenn’s reconstruction project for the present-day ‘rediscovery’ of a painter who was enormously successful during her lifetime.

172 1 Hermann Jughenn to Hermann Hesse, March 1999 [see note 2], cat. rais. no. 1613; Jughenn 18 Hermann Jughenn, “Ottilie Wilhelmine Roe- 6, 1954, Roederstein-Jughenn Archive in the 1933-22; and The Greenland Explorer Dr. Sorge, derstein und Hofheim,” typescript of a lecture Städel Museum, Frankfurt am Main (in the fol- 1934, see Rök 1999 [see note 2], cat. rais. no. delivered on January 11, 1956 at the Volksbil- lowing abbreviated as “Roederstein-Jughenn 1630; Jughenn 1934-3); and that of the alpinist dungsverein Hofheim, p. 4, Roederstein- Archive”), call no. OR 20. and engineer Willy Merkl who, like Jughenn, Jughenn Archive, call no. OR 47. 2 The first well-founded evaluation of the was a German railroad official: The Himalaya 19 Barbara Rök was able to verify 460 works in holdings to be drawn up was the monograph Mountain Climber Willy Merkl, 1934, see Rök the original by 1999; see Rök 1999 (see note 2), by the art historian Barbara Rök, published 1999 (see note 2), cat. rais. no. 1645; Jughenn p. 15. Preparations for the current exhibition in 1999, Ottilie W. Roederstein (1859–1937)— 1934-1. saw several more works by Roederstein dis- Eine Künstlerin zwischen Tradition und Moder- 8 See Hermann Jughenn to Hermann Hesse covered, whose whereabouts had previously ne: Monographie und Werkverzeichnis, Ph.D. (see note 1). been unknown. diss. (Philipps-Universität Marburg, 1997), 9 Clara Tobler, Ottilie W. Roederstein (Zurich 20 See the contribution by Alexander Eiling in edited by Eva Scheid and published on behalf et al. 1929); “Ottilie W. Roederstein,” in Bettina this publication, pp. 70–87. of the municipal administration of the city Konrad and Ulrike Leuschner (eds.), Führende 21 Jughenn commented on this matter: “Back of Hofheim am Taunus—Stadtmuseum/Stadt- Frauen Europas: Elga Kerns Standardwerk von when I started, the whereabouts of most of archiv on the occasion of the exhibition of the 1928/1930 (Munich and Basel, 1999), pp. 34–40; the works were still known, which also made it same name (Marburg, 1999). Ottilie W. Roederstein, “Mein Lebenslauf,” possible to catalogue them. Today—after the 3 Jughenn joined the Nazi Party shortly after in Schweizer Frauen der Tat, 3 vols., vol. 3: annihilation of valuable human lives as well as Hitler came to power. His denazification file 1855–85 (Zurich, 1929), pp. 82–87. many an artwork by our painter—the collec- is located at the Hessian State Archives in 10 See Hermann Jughenn, “Clara Schumann ting of her works would … have involved pains- Wiesbaden (Abt. 520/Frankfurt A–Z). Accor- und O W Roederstein,” typescript of a lecture, taking efforts.” Jughenn 1949 (see note 5). ding to this file he joined the NSDAP on April 1, undated [before 1956], Roederstein-Jughenn 22 See the letter from OWR to the Reichskammer 1933 and became a member of the Reich Fede- Archive, call no. OR 56, p. 15: “I’ve mentioned der bildenden Künste in Berlin, February 2, ration of German Civil Servants the same year. only a few of Frankfurt’s upper-class families 1937, Roederstein-Jughenn Archive, call no. He later also joined the National Socialist Peo- who possessed a high social standing at the OR 4. ple’s Welfare and the National Air Raid Protec- time. I could have mentioned many more be- 23 Hubertus von Richter as a Hitler Youth, 1935; tion League. However, he never held an office cause, in Frankfurt alone, 116 families possess Saluting Hitler Youth, 1936; Laughing Hitler in any of these organizations. His denazificati- 251 paintings by Roederstein.” on trial ended on December 17, 1946 with the Youth with Apple, 1937; see Rök 1999 (see 11 See Hermann Jughenn to Elisabeth H. Winter- verdict “follower” and he was classified as a note 2), cat. rais. nos. 1685, 1733, and 1775. halter, March 17, 1938, Roederstein-Jughenn merely “nominal member” of the Nazi Party. 24 Ibid., pp. 72–79, 121–25. Archive, call no. OR 145. There is no suggestion in Jughenn’s personal 25 OWR to Pauline Häberlin, March 21, 1933, Roe- papers, however, that he was ideologically 12 Julius Meier-Graefe, Hans von Marées: Sein derstein-Jughenn Archive, call no. OR 4; see deeply affiliated with the movement or a Leben und sein Werk, 3 vols., vol. 1: Geschichte Rök 1999 (see note 2), pp. 73f., and the contri- proponent of anti-Semitism. des Lebens und des Werkes, vol. 2: Katalog, bution by Alexander Eiling in this publication, vol. 3: Briefe und Dokumente (Munich and 4 Anonymous, “Besondere Worte für einen be- pp. 70–87. Leipzig, 1910). sonderen Mann: Hermann Wilhelm Jughenn – 26 Ludwig Meidner to OWR, June 27, 1934, der Biograph der Malerin Roederstein,” Hof- 13 Jughenn 1949 (see note 5). Roederstein-Jughenn Archive, call no. OR 4; heimer Zeitung, March 29, 1958, Roederstein- 14 Ibid. see Rök 1999 (see note 2), p. 124. Jughenn Archive, call no. OR 148. 15 Some of the reproductions are from the 27 Jughenn 1949 (see note 5). 5 Hermann Jughenn, “Ottilie Wilhelmine Roe- artist’s estate; others were made by Jughenn derstein: Leben und Werk,” typescript of a himself or turned over to him by their then lecture delivered on April 23 and 30, 1949 owners. [Hofheim], Roederstein-Jughenn Archive, 16 In cases where the artist’s correspondence call no. OR 72. with the respective persons or institutions 6 The Mountain Climber, 1934; Carli and Hermann were in her estate, Jughenn classified these Jughenn in Spitsbergen, 1936; Liseli Jughenn, original documents in different ways: He tran- 1936; Hanneli Jughenn, 1937; see Rök 1999 (see scribed many of them and, as a rule, compiled note 2), cat. rais. nos. 1631, 1716, 1717, and 1757. them in alphabetically arranged letter files. In 7 See also: “Through the author, the master other cases, however, he archived them with made the acquaintance of a special kind of the biographical sources he had gathered on model: explorers and mountaineers, all of a certain work owner or portrait subject. As a whom—each in his own way—possessed a result, correspondence of OWR is sometimes marked individuality and a strong will.” Jug- found alongside his own on the work in ques- henn 1949 (see note 5). Cases in point are the tion. portraits of the Berlin-based geologist and 17 Hermann Jughenn to Jeanne Smith, July 26, Arctic explorer Ernst Sorge, a friend of Jug- 1941, Roederstein-Jughenn Archive, call no. henn (Roederstein executed two versions of OR 22. the latter’s portrait: Dr. Sorge, 1933, see Rök

173

BIOGRAPHY / Alexander Eiling, Sandra Gianfreda, Eva-Maria Höllerer

175 Johanna, Helene, and Ottilie W. Roederstein, ca. 1864, photograph by Richard Riedel * 1859

Ottilie Wilhelmine Roederstein is born in Zurich on April 22, 1859. Her twin brother Otto Ludwig dies shortly after birth. Roederstein’s parents, Reinhard and Alwina, both from the Rhineland, had settled in Zurich two years earlier. As an agent for a textile company, her father travels back and forth across the border to Italy and south Germany. Roederstein grows up with her sisters Johanna (b. 1858) and Helene (b. 1862) in a comfortable middle-class home

Roederstein as Schiller, at Vogelsangstrasse 204. Berlin, January 1882, photograph by Carl Segert Roederstein (r.), sister Johan- Party for women artists at Karl Gussow’s ladies’ studio, Alice Dannenberg, Paris, na and mother Alwina, ca. with Roederstein (center, standing) dressed as Schiller, 1880s, photograph 1888, photograph, Stadtar- Berlin, January 1882, photograph by Carl Segert chiv Hofheim am Taunus 1876 1879 1882 1883

Jean-Jacques Henner, undated, Carolus-Duran, 1884, photo- photograph by F. Mulnier, Paris, graph by Et. Carjat & Cie., Paris, Elizabeth Nourse, Paris, 1880s, with dedication to Roederstein with dedication to Roederstein photograph

T In 1876, after a long struggle with her Rappard, who also become friends with des-Champs. Until 1887, Roederstein has mother, who does not approve of artistic Roederstein. a studio at number 77 of the same street. training for her daughter, Roederstein She works hard on developing her career, begins taking drawing and painting les sons T In the late fall of 1882, Roederstein’s studies the Old Masters in the Louvre, with the Swiss painter Eduard Pfyffer. In dream of going to Paris with Annie Hopf and regularly goes to exhibitions in the his pupils’ studio on Promenadengasse comes true. There she completes her art capital. She also enjoys the freedom in Zurich, she makes the acquaintance of training as a painter in the ladies’ studio and autonomy that in those years are Louise Catherine Breslau and Marie Som- of the renowned artists Carolus-Duran possible for young women artists only merhoff (later Bertuch), with whom she and Jean-Jacques Henner. In the after- in Paris. With her women friends she fre- will remain in close contact all her life. noons, she works in the studio of Luc- quents many of the artist hangouts in the Olivier Merson. And in the evenings, along Paris of this time. She makes numerous T In 1879, after her sister Johanna with a girlfriend from the Baltic and seve- friends and acquaintances with fellow art- marries and moves to Berlin, Roeder - ral male colleagues, she draws from nude ists and cultivates particularly close rela- stein follows her to the capital of the models whom the group presumably hire tionships with Elizabeth Nourse and her new German Reich. There she continues on a private basis, as co-ed nude instruc- sister Louise, Martha Stettler, Alice Dan- her training in the ladies’ studio of the tion is still uncommon at the time. As nenberg, Louise Catherine Breslau, and distinguished portrait painter Karl Roederstein later recalls, women artists Madeleine Zillhardt. Gussow. In Gussow’s establishment are spared harassment for the most part, she makes friends with the Swiss Annie and there are only rare occasions of men T 1883 also marks Roederstein’s first Hopf. The two aspiring artists forge throwing rotten fruit at them. presentation of a work at the Salon de plans to continue their artistic training la Société des artistes français—a por- in Paris. Among Gussow’s other women T From 1883 at the latest, Roederstein, trait (whereabouts unknown) of a woman. pupils are Hildegard Lehnert, Helene von Hopf, and the Polish sculptress Tola From now on, she will exhibit her works Menshausen, and Suse von Nathusius (Teofila) Certowicz live in a modest in Paris every year until 1914. Roederstein’s as well as Sabine Lepsius and Clara von boardinghouse at 79 Rue Notre-Dame- first recorded exhibition takes place that

177 Annie Stebler-Hopf, Jeanne Smith (l.) and Made- Thun, 1893, photograph leine Smith-Champion (r.), undated, photograph, Stadt- archiv Hofheim am Taunus 1885 1887

Roederstein’s studio at 77 Rue Notre-Dame-des-Champs, Paris, ca. 1883–87, photograph

Winterhalter as a student, Zurich, ca. 1886, photograph

same year in Zurich at the art dealership come to Zurich to study medicine, an This studio building at Schönberggasse of Heinrich Appenzeller. opportu nity still denied women in Germany 15a was once used by the Zurich painter at the time. Roederstein and Winterhalter Ludwig Vogel. Roederstein however will T In 1885, Roederstein meets the ama- quickly become friends. The same day, be com pelled to move out of her studio teur photographer Jeanne Smith and her Roeder stein introduces her new acquaint- there in August 1888. Her portrait of younger sister Madeleine in Paris. The ance to her mother, who, through her Pastor Bion (cat. 3) is donated to the Smith family is very well-to-do and, in ad- husband’s contacts, has become a “host Zürcher Künstlergesellschaft, making it dition to a townhouse in Paris also owns mother” for female students. The first the first of her works to subsequently an estate in nearby Nogent-sur-Marne. In young female medical student to have enter the collection of the Kunsthaus around 1887, Madeleine will become Roe- come under the care of the Roe derstein Zürich, built in 1910. derstein’s first pupil and soon begin exhib- family was Agnes Bluhm. Clara Wildenow, iting successfully in Paris herself. Roeder- later also a renowned physician, had also T In 1888, for her portrait of Madame stein and the Smith sisters will develop a been part of this circle of friends. The rela- Dimitri Monnier (p. 28, fig. 6), the Salon lifelong friendship, to which numerous let- tion between Roederstein and Winterhal- of the Société des artistes français awards ters and photographs testify. The Smith ter will develop into a partnership for life. Roederstein a “mention honorable”—a family supports Roederstein as a painter, Reinhard Roederstein provides Elisabeth coveted distinction and one only rarely enabling her to travel for study purposes with financial aid, enabling her to complete bestowed on women artists. It comes with and, in later years, financing a studio for her studies in Zurich and later to set up a a promise of increased public attention her on the Boulevard du Mont parnasse. practice in Frankfurt am Main. and commissions. In August at the latest, Roederstein moves to a new studio at 8 T Roederstein always spends the summer T Roederstein moves back to Zurich in Rue de la Grande-Chaumière. with her family in Zurich. It is there that, the spring of 1887 but retains a studio on July 31, 1885 she makes the acquaint- for herself in Paris. In Zurich, she initially T The Gymnasium student Sigismund ance of Elisabeth H. Winterhalter. A native pursues her artistic work at the Künstler- Righini becomes Roederstein’s pupil in of Munich, the young Winterhalter has gut and subsequently at the “Schneggli.” 1888. The two will go on to cultivate a

178 The “Schneggli” studio building (l.), Zurich, ca. 1888–91, Helene and her husband photograph Josef (José) Schelbert before Helene Roederstein with an Umbrella, ca. 1911, photograph 1888 1889 1890 1891

Sigismund Righini, 1893, photograph by Eugène Roederstein’s studio at 5 Rue Bara, Paris, ca. 1891, Pirou, Paris photograph

Pierre Puvis de Chavannes to Roederstein, admission to the Société nationale des beaux-arts as a “membre associé,” Paris, July 17, 1891

lifelong friendship. Righini will later play an Umbrella (cat. 15), and Madame Dimitri she places at the disposal of women an important role for Roederstein in his Monnier (p. 28, fig. 6). colleagues such as Elizabeth Nourse capacity as a member of the exhibition when she is not in Paris herself. and hanging committees of the Kunst- T Roederstein’s father dies in Zurich on haus Zürich. January 3, 1891. Shortly thereafter, she and T On July 17, 1891, Roederstein is admit- Winterhalter move to Frankfurt am Main. ted to the Société nationale des beaux- T At the Paris Exposition universelle of They take up residence in an apartment at arts as a “membre associé.” Her former 1889, Roederstein is awarded a silver med- Bleichstrasse 60. Just a few minutes away teacher Carolus-Duran has been a driving al for the paintings she has contributed on foot, Roederstein has a small studio at force in the founding of this new artists’ to the presentation at the Swiss pavilion— Hochstrasse 4. Winterhalter establishes association, which is open to modern Miss Mosher (cat. 10), the nude Ishmael herself as a gynecologist and, although not trends. Jean-Jacques Henner and Pierre (p. 30, fig. 6), and a portrait of her sister licensed to practice medicine in Germany, Puvis de Chavannes are members of the Helene (cat. 15). The same year, Winter- opens an office in the newly founded hos- Société’s board of directors. halter takes the state examination, thus pital of the Vaterländischer Frauenverein. completing her study of medicine in Zurich. It will be more than a decade before, in T In 1891, Roederstein takes part in the She will subsequently undergo clinical 1903/04, at the age of forty-seven, she annual international exhibition at the training in Paris, Munich, and Stockholm. takes the German preliminary and state Munich Glaspalast. When she goes to medical examinations. the show in September, she realizes that T Roederstein participates in the Erste her three contributions are not on display Nationale Kunst-Ausstellung der Schweiz, T Even after her move to Frankfurt, in the same room as expected. She is im- staged at the Kunstmuseum Bern from Roe derstein continues to spend several pressed not only by the French artists, May 30 to August 24, 1890. She shows months a year in Paris, usually in the spring but above all by the works of Hans von three of her best works, which have al- and fall, to work and exhibit there. In Feb- Marées, to whom an entire room has been ready gained her a lot of recognition: Miss ruary 1891 at the latest, she moves into devoted, and the “great painter of genius” Mosher (cat. 10), Helene Roederstein with a new studio space at 5 Rue Bara, which Hans Thoma of Frankfurt.

179 Roederstein with students Emma Kopp Roederstein’s teaching studio for women on Hochstrasse, Marie Bertuch (later Som- (far left), Mathilde (2nd left) and Ugi (be- Frankfurt am Main, 1891/92, photograph merhoff), undated, photo- hind column) Battenberg at Städelsches graph with dedication to Kunstinstitut, ca. 1898, photograph Roederstein 1892 1893 1895

Städelsches Kunstinstitut, studio building on Dürerstrasse, 1900, photograph, Institut für Städelsches Kunstinstitut, garden side, undated, photograph, Stadtgeschichte Frankfurt am Main Institut für Stadtgeschichte Frankfurt am Main

T In November 1891, Roederstein has an 1892 and moves into it in January of the up with her colleague Marie Sommerhoff- exhibition at the Frankfurter Kunstverein— following year. Karl von Pidoll occupies the Bertuch, whom she has known since they her first opportunity to present herself as studio next to hers. Hans Thoma also has were art students together in Zurich, in an artist to the local public. She shows his workspace here. Roederstein’s contact establishing a ladies’ studio. By 1893 at the painting Miss Mosher (cat. 10), which to the two artists brings about a change the earliest she teaches as an independent won an award at the Paris Exposition uni- in her style. She works with egg temperas artist in her studio at the Städelsches verselle of 1889, as well as other portraits in a manner distinctly modeled after Kunst institut. Her pupils include Mathilde that have also already proven successful, the masters of the German and Italian and Ugi Battenberg, Julia Virginia Laengs- thus recommending herself as an estab- Renaissance. dorff, Marie Mössinger, and Pauline Kowar- lished portrait painter who brings Parisian zik. Erna Pinner, Frieda Blanca von Joeden, flair to the city on the Main. T Roederstein sends Madonna under Eugenie Bandell, and Hanna Bekker vom Flowers (cat. 31), a work of special im- Rath will also eventually take instruction T In the spring of 1892, Roederstein ac- portance to her, to the World’s Columbian from her. companies Jeanne and Madeleine Smith Exposition (also known as The Chicago and their mother on a trip to London. In World’s Fair) taking place from May 1 to T It is in 1894 that Roederstein first ex- the National Gallery, she studies the works October 30, 1893. The painting is shown hibits a self-portrait—and moreover one of Hans Holbein the Younger and Diego in the Women’s Building of the German she has painted in tempera—at the Salon Velázquez. Back in Frankfurt Roederstein section. Also exhibiting there are her col- of the Société nationale des beaux-arts. makes contact with the artists Anton Bur- leagues Dora Hitz, Susanne von Nathusius, The work in question is the Self-Portrait ger and Norbert Schrödl, who are active and Sabine Lepsius—and Roederstein’s with Red Cap (cat. 17). The same year, in nearby Kronberg. Roederstein’s mother friend, the American painter Elizabeth her younger sister Helene marries Karl dies in Zurich on November 8. Nourse. Häberlin, whose cousin Heinrich (Heinz) Häberlin is elected to the Swiss Federal T Roederstein rents a studio in the T Soon after her arrival in Frankfurt, Council in 1920. Roederstein will become Städelsches Kunstinstitut from October Roederstein wastes no time in teaming very close to him and his wife Paula.

180 Roederstein exhibition at Kunsthandlung J. P. Schneider Ottilie W. Roederstein, on Rossmarkt, Frankfurt am Main, November 1897, Gabriele von Wartensleben, photograph 1937, Städel Museum, Frank- furt am Main 1897 1898

Gabriele von Wartensleben, The Künstlerhaus, corner of Talstrasse and Börsenstrasse, September 1902, photograph, Zurich, 1910, photograph by Adolf Moser, Baugeschichtliches Stadtarchiv Hofheim am Archiv Zurich Taunus

Winterhalter with an alpine guide in the Upper Engadine mountains, 1898, photograph

T In 1895, Roederstein and her colleague “portraitist of the very highest order.” Samedan. Hikes in St. Moritz and Sils Karl von Pidoll travel to Florence together. From 1897 onward, Roederstein also Maria follow. There she makes the acquaintance of the exhibits at the Künstlerhaus—and later sculptor Adolf von Hildebrand who, like at the Kunst haus Zürich—at irregular T The Frankfurt chapter of the Frauen- Pidoll, is a pupil of Hans von Marées, an intervals. In this year, for the first time, bildung-Frauenstudium society is founded artist she greatly admires. Roederstein she contri butes a rather extensive work in May of 1898 to promote women’s edu- spends a lot of time studying the Renais- group, including her Pietà (cat. 33), to cation. Along with Elisabeth H. Winterhal- sance masters and copying their works in the Weihnachts-Ausstellung (Christ- ter, who will periodically act as its chair- the museums and churches. Roederstein mas Exhi bition). Roe derstein’s older person from 1906 onward, the co-found- experiments with etching, but very soon sister Johanna dies on April 23, 1897 ers are the teacher Bertha Frielingshaus, abandons it again. in Berlin. the classical philologist Countess Gabriele von Wartensleben, and Meta Quarck- T In November of 1897, Kunsthandlung T In 1898, Roederstein and Winterhalter— Hammerschlag. Wartensleben is a close J. P. Schneider in Frankfurt stages a major both enthusiastic mountaineers—under- friend of the doctor and Roederstein. exhibition of Roederstein’s recent works. take a tour of the Upper Engadine moun- Winterhalter is actively involved in the Apart from the large-scale Pietà (cat. 33)— tains in Switzerland. From what we can women’s movement and the effort to an ambitious work with which the artist gather, Winterhalter is likely the more establish a Gymnasium for girls, bringing offers proof of her abilities in the area of experienced Alpinist of the two. At any them a step closer to possible higher edu- religious painting as well as her mastery rate, she has already been a member of cation. Roederstein, for her part, sets an of the nude—she almost exclusively pre- the Munich chapter of the Deutscher und example for girls above all by way of her sents portraits and ideal likenesses painted Österreichischer Alpenverein for years, autonomous lifestyle and her career as in tempera in the Renaissance manner. having joined in 1883. On August 29, they a successful, independent artist. She ad- The exhibition is a great success, and climb the Piz della Margna (3158 meters) vocates girls’ education and women’s pro- press reviews—in the city on the Main and just a few days later go on to tackle fessional advancement and supports fe- and beyond—celebrate the artist as a the Piz Glüschaint (3593 meters) near male fellow painters, using her widespread

181 Apartment building at Unterlindau Certificate of citizenship of 35, Frankfurt am Main, ca. 1899, the city of Zurich, issued to photograph Roederstein, July 11, 1902 1899 1900 1902

Roederstein with her fellow painter Jakob Nussbaum, ca. 1910/15, photograph, Historisches Museum Frankfurt, Graphische Sammlung

Roederstein and Winterhalter, ca. 1900, photograph, Stadtarchiv Hofheim am Taunus

network to help them obtain commissions T In 1901, following a hand injury that will association that takes orientation from and exhibition opportunities. keep Roederstein from painting for half French impressionistic plein-air painting a year, she and her longstanding friend and seeks to establish this approach in T On May 29, 1899, Roederstein and her Emma Kopp set out on a trip to Spain. Her Germany by way of exhibitions. The other former pupil Mathilde Battenberg attend main destination is Madrid and the collec- members include Ferdinand Brütt, Rudolf the funeral of Rosa Bonheur—a highly tion of the Museo del Prado. There she Gudden, Paul Klimsch, Jakob Nussbaum, regarded French artist—in Paris. With studies the works of Diego Velázquez, an and Wilhelm Trübner. Roederstein takes her colleague Louise Catherine Breslau, artist she greatly admires, and also copies part in several of the Künstlerbund’s shows she takes a trip to Kassel, Braunschweig, works by El Greco. until its dissolution in 1909/10. She and the and Dresden. painter Jakob Nussbaum become friends. T In early summer 1902, on the back of T In 1899, Roederstein and Winterhalter being recognized as a former citizen of T Roederstein and Winterhalter tour move to Unterlindau 35 in Frankfurt. Their Zurich, Roederstein’s application for Swiss Belgium in the summer months of 1902. friend Emma Kopp (cat. 69) takes up resi- citizenship is approved. From now on, she They choose this destination in part be- dence in an apartment in the same building. is officially Swiss—a status that will prove cause they want to visit the Exposition extremely advantageous for her and des Primitifs flamands et l’art ancien taking T Roederstein presents three tempera Winterhalter during World War I and the place in Brussels from June 15 to Septem- paintings in the Swiss pavilion of the Paris French occupation. As a token of thanks, ber 18. The show makes a big impression Exposition universelle in 1900. She is again Roederstein will soon thereafter donate on the artist. She is particularly interested awarded a silver medal for her contribu- the painting The Tell Boy (1903, wherea- in the works of Hubert and Jan van Eyck, tions. This time it is her Swiss colleague bouts unknown) to the city of Zurich. Hans Memling, Antonello da Messina, and Ferdinand Hodler who receives the high- Quentin Massys. Apart from the cities, the est distinction. The younger Swiss painters T In 1902, Roederstein becomes a mem- two women also visit the rural Ardennes Cuno Amiet and Giovanni Giacometti also ber of the Frankfurt-Cronberger-Künstler- region and the coastal town of Knokke show works on this occasion. bund, a newly founded secessionist artists’ in Flanders.

182 Ottilie W. Roederstein, The Mathilde Battenberg, Roederstein, and Ida Gerhardi, stu- Son of William Tell, 1902, pain- dio at 108 Boulevard du Montparnasse, Paris, May 1904, ting, whereabouts unknown, photograph, Stadtarchiv Hofheim am Taunus reproduction 1904 1906 1907

Josef and Pauline Kowarzik in costumes, undated, Roederstein at the grave of Karl von Pidoll, photograph Rome, 1904, photograph.

Cuno and Anna Amiet to Roederstein, Oschwand, January 1, 1909, postcard

T In 1903, Roederstein moves into T In 1904, Roederstein moves into a new, T In response to the policy of the a studio at 108 Boulevard du Mont - larger studio space on the third floor of Gesellschaft Schweizer Maler, Bildhauer par nasse in Paris which she will retain the Städelsches Kunstinstitut’s main buil- und Architekten (GSMBA, Society of Swiss until the outbreak of World War I. ding (studio nos. 43 and 44). In 1908 she Painters, Sculptors, and Architects), found- She generously allows less monied will let her friend Emma Kopp have studio ed in 1866, not to admit women artists colleagues such as Ida Gerhardi and no. 44. Among her studio neighbors dur- as active members, the Société Romande the somewhat younger Martha Haffter ing this period are Eugenie Bandell, the des Femmes Peintres et Sculpteurs is initi- to use it as well. Roederstein’s pupils sculptor Josef Kowarzik, and the architect ated in 1902 for Francophone Switzerland. Mathilde Battenberg, Julia Virginia Hermann A. E. Kopf. In 1907, it widens its reach to include Laengsdorff, Marie Mössinger, and Lina all of Switzerland, becoming the Gesell- von Schauroth also visit their master T In 1906, Roederstein goes to the Henri schaft schweizerischer Malerinnen, Bild- in her Parisian studio-apartment. They Fantin-Latour memorial exhibition in Paris hauerinnen und Kunstgewerblerinnen take advantage of the opportunities and is especially taken with the artist’s still (GSMBK, Society of Women Painters, offered by the art capital to continue lifes. Sculptors, and Designers of Switzerland) their training and make new contacts. and is now known as Schweizerische T In July of 1907, Roederstein and Annie Gesellschaft Bildender Künstlerinnen T In 1904, Roederstein once again Stebler-Hopf visit their compatriot and fel- (SGBK). Roederstein is never a member embarks on travels in Italy that take low painter Cuno Amiet and his wife Anna of the women’s association, and also her to Florence and then Rome. There in the hamlet of Oschwand near Rietwil. refuses to become a “passive member” she visits the grave of her friend Karl Roederstein takes advantage of the occa- of the corresponding men’s organization, von Pidoll. The latterly impoverished sion to purchase Amiet’s painting Female the GSMBA. artist took his life in 1901 and now lies Head (Annel) (cat. 84) for her private col- buried in the Protestant Cemetery in lection. After this visit, Roederstein T In 1908, Roederstein and Winterhalter Rome alongside his teacher Hans von and the Amiets become friends, and the move to a spacious apartment at Oeder Marées. couple repeatedly invite her to return. Weg 7 in Frankfurt am Main.

183 Winterhalter in the living room, Oeder Weg 7, Frankfurt am Ottilie W. Roederstein, The Letter Roederstein with dog in her Main, ca. 1908, photograph. (Gwen John), 1908, painting, where- studio, Hofheim am Taunus, abouts unknown, reproduction June 1911, photograph 1908 1909 1910

Roederstein and Winterhalter’s house, formerly Winterhalter in her green- Deschweg 2, Hofheim am Taunus, ca. 1909/10, house, Hofheim am Taunus, Kunsthaus Zürich, 1910, photograph by Ph. & E. Link, photograph June 1911, photograph gta Archiv/ETH Zurich

T In early 1908, Roederstein collaborates opens on October 1, 1908, by lending the building designed by Karl Moser. In addi- with her fellow painter Ernst Würtenberger museum works of French Post-Impres- tion to local male and female artists, other and Wilhelm Schäfer—editor of the art pe- sionist painting from her own collection. Swiss artists are also invited to show their riodical Die Rheinlande and founder of the works. Roederstein is the only woman Verband der Kunstfreunde in den Ländern T In 1908, work gets underway on the among the latter. am Rhein—in an effort to gain publicity for house Roederstein and Winterhalter are modern Swiss art in Frankfurt by staging having built for themselves on a piece of T Roederstein initially has her studio in an exhibition. Apart from organizing the land which, situated near a forest in Hof- the newly constructed house in Hofheim. show and selecting the works, she also heim am Taunus, they have purchased the But in 1910/11, she has a separate studio takes charge of hanging them in the exhi- previous year. The Frankfurt architect building tailor-built for herself at some dis- bition rooms at Haus Herwig. She more- Hermann A. E. Kopf has designed the tance to the main house. In April 1911, she over hosts a private banquet for her Swiss house in the country style and oversees sets up shop in her new studio, which con- colleagues who come to Frankfurt for the construction work. Kopf and Roederstein sists primarily of a single, spacious work- occasion, among them Ferdinand Hodler know each other from the Städelsches room with a large window and skylight to and Max Buri. Kunstinstitut where the architect—a na- the northeast. There is also a small kitchen tive of Darmstadt active in the Arts and and, facing the south, an exhibition room. T In the spring of 1908, the British painter Crafts movement—likewise has a studio. On the upper floor are two rooms where Gwen John models for Roederstein. At the The two women finally move to Deschweg the artist stores her paintings. She works time, John (whose brother Augustus is 2 (now called Roedersteinweg) in Hofheim every day from 9:00 to 12:15 on the dot, also a painter) is having a love affair with in 1909. Their friend Emma Kopp has a and 2:30 to 5:00, after which she receives Auguste Rodin. country house built for herself on the customers, pupils, or fellow artists. Soon neighboring lot. the two women have a gardener’s house T Roederstein provides generous support and a large greenhouse built for themselves to the Künstlerhaus Zürich for its exhibi- T The Kunsthaus Zürich opens on April 17, as well. Winterhalter, who retires in 1911 for tion Französische Impressionisten, which 1910 with a major exhibition in the new health reasons, tends to the greenhouse.

184 North side of Roederstein’s studio building, Hofheim am Taunus, June 1911, photograph

1911 1912 1913

Roederstein feeding monkeys in Winterhalter and Roederstein with a native escort in the Gorges de la Chiffa, Algeria, the Jardin Landon, Biskra, November/December 1913, November/December 1913, photograph by Jeanne Smith (?) photograph by Jeanne Smith (?)

Winterhalter with Alsatian in Roederstein’s studio, Hofheim am Taunus, ca. 1913, photograph

Also in 1911, Roederstein gives up her stu- Ingres, Delacroix, and Corot to Monet, now—becomes a member of the associa- dio at the Städelsches Kunstinstitut once Degas, Cézanne, Gauguin, Van Gogh, and tion’s main board soon after its founding. and for all. Her former pupil Frieda Blanca Cross. Along with Georg Swarzenski, the To this day it has not been possible to es- von Joeden takes her place as a tenant. director of the Städel at the time, Roeder- tablish what role she plays there or wheth- stein is a member of the selection commit- er she herself becomes active. Unlike her T From May 25 to September 30, 1912, tee, which is chaired by the art historian partner Winter halter, Roederstein is nei- Roederstein participates in the exhibition Carl Gebhardt. She has valuable contacts— ther politically minded nor a suffragette, of the Sonderbund westdeutscher Kunst- not only to Frankfurt’s major collectors, but strives for recognition in the art freunde und Künstler in Cologne. She is but also to the Parisian art market—which world—also from her male colleagues— the only woman artist representing Swit- are of great benefit to the project’s reali- purely on the basis of her artistic accom- zerland in the now-legendary Sonderbund zation. She herself lends works by Auguste plishments. It is pos sibly at the request of show; among the others are Cuno Amiet, Boulard, Gustave Courbet, Henri Edmond her colleague Dora Hitz that she joins the Giovanni Giacometti, and Ferdinand Hodler. Cross, and Henri Fantin-Latour from her organization. She is well acquainted with She moreover places the Van Gogh still life collection of modern French painting. Hitz and has already supported her in the (fig. p. 164) from her private collection on Parisian ex hibition business in earlier years. loan for the event, a work that will later T The Frauenkunstverband is founded It is also possible that her pupils Frieda prove to be a forgery. in Frankfurt in 1913, chaired by Käthe Blanca von Joeden and Eugenie Bandell, Kollwitz. With a special focus on women’s likewise members, have en couraged her to T In the summer of 1912, Roederstein admittance to art academies, it champions join. is involved in organizing an exhibition of training opportunities for women artists nineteenth-century French painting in equal to those for men. Roederstein—who, T In November 1913, Roederstein, Frankfurt, the largest of its kind ever to like many of her colleagues, has avoided Winterhalter, and Jeanne Smith set out be presented in the city on the Main until any active involvement in the women’s on lengthy travels of North Africa. The then. It includes works by all the promi- movement and has never yet joined a amateur photographer Smith documents nent names of modern French art, from women artist’s association until the stages of the journey in numerous

185 Roederstein’s house with hoisted Swiss flag, Hofheim am Taunus, undated, photograph

1914–18 1920

Roederstein, Jeanne Smith, Emma Kopp, and Maximiliane vom Rath, ca. 1930, photograph

Roederstein’s travel papers for Frankfurt am Main, April 10, 1919

photos. The first stop is Marseille to catch T Roederstein and Winterhalter already T In 1920, Roederstein makes the acqua- the ferry to Tunis. From Tunis they con- begin thinking about their legacy during intance of the Swiss couple Theodor and tinue in a convertible and on camels and the war. In 1917, they decide to set up a Anna Elisabeth Wolfensperger. The bank donkeys to Carthage, Sousse, Gabes, foundation, for indigent painters and director has resided in Frankfurt since Biskra, and Algiers. for naturalists, with a trust fund for the 1916, and on April 6, 1920 is elected Swiss latter payable to the Senckenbergische honorary consul for the consular district T After the outbreak of World War I on Naturforschende Gesellschaft in Frankfurt of Frankfurt am Main. Wolfensperger as- July 28, 1914, it is no longer possible for am Main. It is not until 1938, however, sists his compatriot with her financial af- Roederstein to travel to Paris. She is thus that the foundation deed is officially fairs. The Wolfenspergers will go on to compelled to give up her studio on the signed—by Winterhalter only, because collect more than thirty works by Roeder- Boulevard du Montparnasse. Even her Roederstein has died the previous year. stein, and thus rank among her most im- correspondence with her friends and portant collectors. It is in this year as well acquaintances in France is difficult, and T In 1920, Roederstein bequeaths a large that the artist strikes up an acqua intance she suffers greatly from the loss of con- portion of her collection of modern French with Hermann Jughenn, who will not only tact. She withdraws almost entirely to and Swiss painting to the Kunst haus Zürich. become a close friend, but also her first her studio building in Hofheim. She even She already came to this decision in the biographer. has trouble keeping up her contacts in fall of 1919—and made an offer to this neutral Switzerland. It is not until after effect to Wilhelm Wartmann, then director T Roederstein’s studio building and the the war, in 1919, that Roederstein obtains of the Kunsthaus—out of fear of losing the gardener’s house are requisitioned in a permit to travel to Frankfurt to work. works in the uncertain times and situation 1920 for use as living quarters by the She is no longer able to exhibit in Paris prevailing in Germany at the time. The French occupying forces stationed in in the years that follow. The salons, in collection committee accepts her offer, Hofheim. It will not be until July of 1929 which she has participated annually and the donation of sixteen paintings is of- that the artist’s studio is returned to her since 1883, now take place without ficially documented in January 1920; their for her own use. During the years of the her contributions. receipt in Zurich is confirmed in February. occupation, she once again works in the

186 The ruins of Luxor, May 1929, The temple at Philae, Aswan, May 1929, photograph by Jeanne photograph by Jeanne Smith (?) Smith (?) 1928 1929

Hanna Bekker vom Rath, 1926, Roederstein and Winterhalter playing chess, undated, photograph by Nehrlich, Kassel photograph

studio adjoining the main house, which T From January 11 to February 11, 1925, Kunstverein organizes a comprehensive for lack of space has become a “through Roederstein once again has the opportu- anniversary exhibition and presents her room.” Likewise in 1920, Roederstein’s nity to exhibit a large number of her works with a medal of honor. Roederstein exclu- confidante and former pupil, the art pa- at the Kunsthaus Zürich. The presentation sively exhibits works she has produced tron and painter Hanna Bekker vom Rath, brings her substantial recognition. over the previous decade, and the show settles nearby in Hofheim. She and her proves to be a great success. On this husband, Paul Bekker, music critic, con- T Roederstein takes part in the first occasion, the town of Hofheim awards ductor, and theatrical artistic director, Schweizerische Ausstellung für Frauenar- Roederstein and her partner Winterhalter move to a house at Kapellenstrasse 11. beit (SAFFA; Swiss Exhibition for Women’s honorary citizenship in recognition of their Their “Blaues Haus” becomes a gathering Work), a kind of national expo of Swiss services to art as well as civil and church place for prominent artists such as Ida women taking place in Bern in 1928. life. The city of Frankfurt am Main also Kerkovius, Alexej von Jawlensky, Ludwig She contributes three works, including pays tribute to the prominent citizen on Meidner, Emy Roeder, Karl Schmidt- a self-portrait. the occasion of her birthday, awarding her Rottluff, and Ernst Wilhelm Nay, all of a badge of honor. Roederstein is more - whom are also in contact with Roeder- T On April 2, 1929, Roederstein, Winter- over elected honorary member of the stein. The artist always enjoys hosting halter, and Jeanne Smith set out on a tour Frankfurter Künstlerbund as well as the visitors in her spacious house in Hofheim of the Mediterranean starting in Naples. Frankfurt chapter of the Bund deutscher am Taunus. Whereas her old friends Over the following weeks until May 9, Künstlerinnen und Kunstfreundinnen Jeanne Smith and Annie Stebler-Hopf can they will visit Athens, the Bosporus, (GEDOK). The first monograph on Roeder- only rarely come to Hofheim—the former Rhodes, Cyprus, Baalbek, Cana, Nazareth, stein, written by Clara Tobler, is published. from France, the latter from Switzerland— Bethlehem, Jerusalem, and finally the in their old age, Emma Kopp and Maximili- temple complexes of Luxor and Aswan. T The Enabling Act is passed on March 24, ane vom Rath (Hanna Bekker vom Rath’s 1933, effectively giving Adolf Hitler legisla- mother) are among the frequent guests T In 1929, in celebration of Roederstein’s tive power, which in turn paves the way for in the Roederstein-Winter halter home. seventieth birthday, the Frankfurter the Nazi dictatorship. For Roederstein, this

187 Roederstein working on Signatures of women atten- a portrait in her studio, dees at event in Roederstein’s Hofheim am Taunus, ca. 1930 honor, GEDOK Frankfurt, April 26, 1934 1932 1933 1934

Roederstein with Joan Whitehead in her studio, Hofheim am Taunus, ca. 1933, Roederstein and Winterhalter, photograph ca. 1930, photograph

Julia Virginia Laengsdorff, “Ottilie Wilhelmine Roederstein zum 75. Geburtstag,” in Aus dem Reich der Frau, 4. Beiblatt der Frankfurter Nachrichten, no. 110, April 22, 1934

is the saddest day of her life; she writes: her master, who puts her pupil in touch leading men and women of Frankfurt “The future as I see it is distressingly black.” with her friends and acquaintances in so ciety due to the Jewish origins of many She and Winterhalter must have witnessed Frankfurt and helps her find opportunities of her sitters. On December 13, the Kunst- the racist riots and the humiliations to to exhibit her works there. Roederstein haus Zürich likewise opens an exhibition which their Jewish friends, acquaintances, becomes very attached to Whitehead, in ho nor of the artist’s birthday. and colleagues are subjected. As we know “as if she were her daughter.” Neverthe- from Roederstein’s letters, she feels pow- less, for unknown reasons, the two wom- T On April 26, 1934, the GEDOK Frank furt erless in the face of these societal upheav- en quarrel, leading to the younger artist’s pays tribute to Roederstein by hosting a als, which have “totally crushed her cour- departure in the summer of 1934, which celebration on the occasion of her age to live.” She reacts by withdrawing to is a severe blow for Roederstein. seventy-fifth birthday. The event takes the privacy of her studio. Winterhalter place in the artist’s absence; she has al- also suffers severely from the situation, T In 1934, On the occasion of her seven- ways avoided gatherings of this kind. yet is not afraid to voice criticism of Nazi ty-fifth birthday, Roederstein is once again The par ticipants, including several of her propaganda. Roederstein nevertheless honored with an anniversary exhibition at former pupils such as Mathilde Battenberg participates in the Kraft durch Freude the Frankfurter Kunstverein. At an ad- and Lucie Rohmer-Heilscher, enter their (Strength through Joy) exhibition staged vanced age, and under difficult social and names in an atten dance list which they at the Frankfurter Kunstverein in 1934. political conditions, she thus has yet an- subsequently send to Roederstein by other opportunity to present her œuvre mail. Julia Virginia Laengsdorff, likewise T In the summer of 1933, the English to a broad public; the show encompasses a former pupil who has maintained painter and lithographer Joan White- fifty of her works. However, in keeping ties to the artist, gives a lecture in head travels to Hofheim from Spiez. with her own wishes, it will be her last her honor. Roederstein’s last pupil, Whitehead public appearance, as the “artistic circum- stays with her teacher’s friend Emma Kopp, stances have changed so drastically.” In T From June to July 1935, Roederstein who lives next door. The young artist is an act of “political caution,” Roederstein and Winterhalter once again travel to highly talented and learns rapidly from is denied her wish to present portraits of Italy to see the important Titian exhibi-

188 Roederstein’s studio in Hofheim am Taunus, ca. 1936, Roederstein to Winterhalter, Paris, October 15, 1937, postcard of the photograph German pavilion, Exposition internationale, 1937

1937

Crowd in front of the Degenerate Art exhibition, Archäo- Exposition internationale, Paris, 1937, postcard, full view from logisches Institut am Hofgarten, Munich, 1937, photograph Trocadéro

tion in Venice. Roederstein has always collection to the planned museum, but the Exposition internationale des arts been quite taken with the art of the no such bequest ever comes about. et des techniques appliqués à la vie mod- Italian master; in her younger years erne. Arriving on October 12, she will write she also copied his works. The two T In 1937, Roederstein and her partner a dozen letters, one every day, to her part- women travel back to Germany with go to the Entartete Kunst (Degenerate ner Winterhalter back home in Hofheim, Hanna Bekker vom Rath, who drives Art) exhibition in the Hofgarten and the reporting on her impressions of Paris, them through the striking Dolomite Nazis’ parallel show, the Grosse deutsche which has changed considerably since her landscape in her convertible. Kunstausstellung (Great German Art Exhi- years in training there. Besides several vis- bition) at the Haus der Kunst, both in Mu- its to the exhibition of French painting, the T In the spring of 1936, Roederstein nich. She has applied for participation in German and Swiss pavilions, the El Greco tries to get her Self-Portrait in Blue of the latter, but ultimately does not show and Van Gogh exhibitions, and a show of 1936 admitted to the collection of the any of her works there. In letters to Julia “very modern Frenchmen,” the artist Uffizi’s Galleria degli autoritratti in Flor- Virginia Laengsdorff, she writes that she spends a day at the Musée du Louvre. ence. The attempt is successful, but the is deeply agitated by her visit to the two She stays with her friend Jeanne Smith painting will not enter its holdings until exhibitions but does not want to go into in Nogent-sur-Marne and also meets with the end of April 1938. In September of the detail on the matter until they meet in Jeanne’s sister Madeleine Champion- same year, Roederstein sends Heinrich person. And as her biographer Hermann Smith as well as friends such as Louise Häberlin two works—one of her self- Jughenn will later report, she is so shocked Catherine Breslau and Martha Stettler. portraits and a Neoclassicist painting by by the vilification of the paintings pro- Felix Maria Diogg from her collection— nounced “degenerate” that the experience T On the occasion of the first anni- with a view to the founding of a Thur- pre occupies her for a long time afterward. versary of her death, a comprehensive gauisches Kunst museum in Frauenfeld, Roederstein retrospective goes on view Switzerland, a cause the former federal T In early October 1937, Roederstein is at the Frankfurter Kunstverein from councilor supports. Roederstein also not in the best of health, but obtains her April 3 to 24, 1938, having been organized plans to will further works from her doctor’s permission to travel to Paris to by that association on the initiative of

189 1937

Open double page from visitors’ book of the Roederstein Studio, 1938–44, Roeder- stein-Jughenn Archive in the Städel Museum, Frankfurt am Main, call no. OR 98, pp. 22f.

On November 26, 1937, Ottilie W. Roederstein dies of a heart condition in Hofheim am Taunus.

Elisabeth H. Winter halter and Gabriele von Wartensleben. In slightly reduced form, the show is subsequently presented in Zurich and Bern.

T Winterhalter and Hermann Jughenn together set up a memorial for the artist in her former studio building. Many pro minent figures such as Emy and Karl Schmidt-Rottluff, the Frankfurt-based collector of Expressionism, Carl Hagemann, joined by Erna Kirchner, widow of Ernst Ludwig, and Ernst Holzinger, director of the Städel, come to pay tribute. The memorial is dismantled in 1944. Winterhalter dies on February 12, 1952 and is laid to rest alongside her life companion in the forest cemetery in Hofheim am Taunus.

All photographs and documents shown here are in the Roederstein-Jughenn Archive in the Städel Museum, Frankfurt am Main unless otherwise indicated.

190 O. W. Roederstein Memorial Exhibition, Frankfurter Kunstverein, 1938, photograph by Fotowerkstätte Martha Hoepfner, Frankfurt am Main

/ APPENDIX

193 Exhibition Chronology until 1938 / Compiled by Alina Happ

Ottilie W. Roederstein’s partici- 1886 1888 1891 pation in the exhibitions listed April 11–Maprily 2: 11–MaySchweizerische 2 [MarcMarch]h]: Kunsthandlung Appen- Maarchrch 115–April5–April 5: Schweizerische below is documented by means Kunst-Ausstellung [Turnusaus- zeller, Zurich (1 painting, docu- Kunst-Ausstellung [Turnusausstel- of catalogue publications or stellung], Börsensaal, Zurich mented by a review) lung], Kunsthalle Basel (1 painting, reviews, as well as letters and (3 paintings, nos. 244–46) May 1–June 30ay: Salon1–June de 30 la Société no. 103) annual reports. Unless stated May 1–June 3ay0: Salon1–June de 30 la Société des artistes français, Palais des May 15–July 10ay: Salon15–July de 10la Société otherwise, the documentary des artistes français, Palais des Champs-Elysées, Paris (2 paintings nationale des beaux-arts, Palais source takes the form of the Champs-Elysées, Paris (2 paintings, and 1 pastel, nos. 2170, 2171, 3552) des Beaux-Arts au Champ-de-Mars, accompanying catalogue. When- 1 drawing [?], nos. 2040, 2041, [From JuneFrom]: III. Internationale June] Paris (2 paintings and 1 pastel, ever the exhibition dates are un- 3294) Kunstausstellung (Münchener nos. 798, 799, 1229) known, the date given in square May 9–3ay0: Schweizerische9–30 Kunst- Jubiläumsausstellung), Königlicher June 11–28une: Schweizerische 11–28 Kunst- brackets marks the publication Ausstellung [Turnusausstellung; de- Glaspalast, Munich (3 paintings, Ausstellung [Turnusausstellung], date of the corresponding re- tails as to venue not documented], nos. 1968a, 1968c, 1978b [4th Bibliothekgebäude, St. Gallen view or reviews. Aarau (1 painting, no. 246) edition of exh. cat.]) (1 painting, no. 103) [JunJune]e]: [Kunstausstellung Schweizer [From July]From: Münchener July] Jahres- 1883 Künstler; details as to venue not 1889 Ausstellung von Kunstwerken aller From Mayrom 1: Salon May 1de la Société des documented], Baden (1 painting, May 1–June 30ay: Salon1–June de 30 la Nationen, Königlicher Glaspalast, artistes français, Palais des Champs- documented by a review) Société des artistes français, Munich (2 paintings and 1 water- Elysées, Paris (1 painting, no. 2088) June 6–27une: Exposition 6–27 de la Palais des Champs-Elysées, Paris color, nos. 1297a, 1297b, 1977a) Maayy 11–October–October 3: Schweizerische Société suisse des beaux-arts (2 paintings, nos. 2314, 2315) July 8–26uly: Schweizerische 8–26 Kunst- Landesausstellung, Kunstausstel- [Turnusaus stellung], Musée Arlaud, Maayy 6–October6–October 3131: Exposition Ausstellung [Turnusausstellung], lung, Kunsthalle Zürich (4 paintings, Lausanne (1 painting, no. 246) universelle de 1889, Palais du Schützenhaus, Glarus (1 painting, nos. 267–70) From Julromy 7: Exposition July 7 de la Champ-de-Mars, Paris (3 paintings, no. 158) [AugusAugust]t]: Kunsthandlung Appen- Société suisse des beaux-arts nos. 76–78) August 5–23gust: Schweizerische 5–23 Kunst- zeller, Zurich (2 paintings, docu- [Turnusaus stellung; details as to July 14–28uly: 14–28Schweizerische Kunst- Ausstellung [Turnusausstellung], mented by reviews) venue not documented], Le Locle Ausstellung [Turnusausstellung], Börse, Zurich (1 painting, no. 158) [OctobeOctober]r]: Kunsthandlung Appen- (1 painting, no. 246) Imthurneum, Schaffhausen Septembereptember 3–173–17: Esposizione Artis- zeller, Zurich (1 painting, docu- [AugusAugust]t]: Kunsthandlung Appen- (1 painting, no. 204) tica [Turnusausstellung; details as mented by reviews) zeller, Zurich (2 paintings and 1 Auugustgust 111–September1–September 1: to venue not documented], Lugano Novembovemberer: Kunstausstellung drawing, documented by reviews) Schweizerische Kunst-Ausstellung (1 painting, no. 158) schweizerischer Künstler, Kunsthalle August 8–29ugust: Schweizerische 8–29 [Turnusausstellung], Börse, Zurich [November]November]: Frankfurter Kunstver- Basel (3 paintings, nos. 116–18) Kunst-Ausstellung [Turnusaus- (1 painting, no. 204) ein, Frankfurt a. M. (3 paintings and stellung], Kunstmuseum Bern Occtobertober 66–November–November 3: Ausstellung 1 pastel, documented by reviews) 1884 (1 painting, no. 246) schweizerischer Künstler, Kunsthalle January 4–anuary8: Zwingli-Ausstellung 4–8 , October 7–31ctober: [opening 7–31 of new Basel (1 painting, no. 120) 1892 held by Stadtbibliothek Zürich in exhibition gallery featuring works Apprilril 1–June1–June 1155: Cinquième exposi- conjunction with the Staatsarchiv by Swiss artists] Künstlergut, Zurich 1890 tion internationale de blanc et noir, and Kantons-Bibliothek, Aula des (1 painting, documented by reviews April 7–27pril: Ausstellung 7–27 im Künstler- Palais des arts libéraux, Champs-de- Linth-Escher-Schulhauses, Zurich and annual report of Zürcher Künst- gut von Gemälden und Bildwerken Mars, Paris (2 pastels, nos. 1746, (1 painting, no. 96) lergesellschaft) moderner Meister, grösstentheils 1747) May 1–June 20ay: Salon1–June de 20 la Société [November]November]: Kunsthandlung aus Privatbesitz, Künstlergut, Zurich May 1–June 15ay: Zweite1–June Nationale 15 des artistes français, Palais des Appenzeller, Zurich (1 painting, (2 paintings, nos. 37, 38) Kunst-Ausstellung der Schweiz, Champs-Elysées, Paris (2 paintings, documented by reviews) May 1–June 15ay: Erste1–June Nationale 15 Kunstmuseum Bern (2 paintings, nos. 2071, 2072) [FromFrom DecemberDecember 9]9]: Kunstmuseum Kunst-Ausstellung der Schweiz, nos. 232, 233) [NovemberNovember]]: Kunsthandlung Bern (1 painting, documented by Kunstmuseum Bern (3 paintings, May 7–June 30ay: Salon7–June de 30 la Société Appenzeller, Zurich (2 paintings, reviews) nos. 220–22) nationale des beaux-arts, Palais des documented by a review) Maayy 15–June15–June 3030: Salon de la Société Beaux-Arts au Champ-de-Mars, 1887 nationale des beaux-arts, Palais Paris (3 paintings, nos. 870–872) 1885 May 1–June 3ay0: Salon1–June de 30 la des Beaux-Arts au Champ-de-Mars, Julyuly: Ausstellung im Künstlergut Apprilril 226–May6–May 1177: Schweizerische Société des artistes français, Paris (2 paintings, nos. 760, 761) von Gemälden schweizerischer Kunst-Ausstellung [Turnusaus- Palais des Champs-Elysées, Paris Juunene 229–October9–October 5: LXII. Aus- Künstler, Künstlergut, Zurich stellung], Börsensaal, Zurich (2 paintings, nos. 2060, 2061) stellung der Königlichen Akademie (1 painting, no. 84) (1 painting, no. 346) [AugusAugust]t]: Kunsthandlung Appen- der Künste zu Berlin, Landes-Aus- May 1–June 30ay: Salon1–June de 30 la Société zeller, Zurich (1 painting, docu- stell-Gebäude am Lehrter Bahnhof, des artistes français, Palais des mented by a review) Berlin (1 painting, no. 725) Champs-Elysées, Paris (2 paintings, OctoberOctober 27–November27–November 1133: nos. 2114, 2115) Gemälde-Ausstellung zur Feier [OctobeOctober]r]: Kunsthandlung Appen- des hundertjährigen Jubiläums der zeller, Zurich (2 paintings, docu- Künstlergesellschaft, Künstlergut, mented by a review) Zurich (1 painting, no. 89)

194 1893 1897 1900 1901 [February]February]: Kunstsalon Amsler & AprilApril 24–June24–June 3030: Salon de la Société [January]January]: Gesamt-Ausstellung der [February]February]: Kunsthalle Basel Ruthardt, Berlin (1 work, docu- nationale des beaux-arts, Palais Frankfurter Künstlergesellschaft, (3 paintings, documented by mented by a review) des Beaux-Arts au Champ-de-Mars, Frankfurter Kunstverein, Frankfurt reviews) Maayy 11–October–October 3300: World’s Paris (5 paintings and 1 work on a. M. (number of works unknown, Marcharch: Ständige Ausstellung mod- Columbian Exposition (The Chicago paper, nos. 1070–74, 1726) documented by a review) erner Kunstwerke im Künstlerhaus. World’s Fair), Woman’s Building, Juneune 11–end–end ooff OOctoberctober: VII. [January]January]: Museum Wiesbaden III. Serie 1901, Künstlerhaus Zürich Chicago (1 painting, no. 85) Inter nationale Kunstausstellung, (4 paintings, documented by a (1 work, no. 64) May 10–Julyay 10 10–July: Salon de 10 la Société König licher Glaspalast, Munich review) Apprilril 222–June2–June 3300: Salon de la nationale des beaux-arts, Palais (3 paintings, nos. 1389–91) [January]January]: Kunsthalle Basel Société nationale des beaux-arts, des Beaux-Arts au Champ-de-Mars, [November]November]: Kunsthandlung J. P. (5 paintings, documented by Grand Palais, Paris (5 paintings, Paris (4 paintings, nos. 895–98) Schneider, Frankfurt a. M. (22 paint- reviews) nos. 784–87, 1363) ings and 6 drawings, documented [February]February]: Exposition préliminaire Juunene 11–October–October 3300: VIII. Interna- 1894 by reviews and photographs of d’œuvres d’artistes suisses destinées tionale Kunstausstellung, Königlicher AAprilpril 225–June5–June 3300: Salon de la Société installation views) à l’Exposition universelle de Paris, Glaspalast, Munich (1 painting, nationale des beaux-arts, Palais [DecemberDecember]]: Ständige Ausstellung Bâtiment électoral, Geneva no. 1436) des Beaux-Arts au Champ-de-Mars, moderner Kunstwerke im Künstler- (4 works, nos. 459–62) Novemberovember 2–December2–December 1: Dritte Paris (4 paintings, nos. 979–82) haus. X. Serie 1897 (Weihnachts- Maarchrch 118–April8–April 1: Turnus-Aus- Jahres-Ausstellung der Frankfurter May 1–June 17ay: Dritte1–June Nationale 17 Ausstellung), Künstlerhaus Zürich stellung des Schweizerischen Künstler, Frankfurter Kunstverein, Kunst-Ausstellung der Schweiz, (11 paintings, nos. 105–14, Pietà Kunstvereins, Stadthaus Winterthur Frankfurt a. M. (2 paintings, Kunstmuseum Bern (3 paintings, not in catalogue, documented (1 painting, no. 186) nos. 140, 141) nos. 162–64) by reviews) April 12–26pril: Turnus-Ausstellung 12–26 Maayy 227–June7–June 1717: Ausstellung im des Schweizerischen Kunstvereins, 1902 Künstlergut von Gemälden schwei- 1898 Museum der Stadt Solothurn From Marchrom: 1. Kollektiv-AusstellungMarch zerischer Künstler, Künstlergut, February 1–2bruary8: 16. Ausstellung 1–28 (1 painting, no. 186) des Frankfurt-Cronberger Künstler- Zurich (1 painting, no. 55) des Vereins der Künstlerinnen Apprilril 115–November5–November 1122: Exposition bundes, Kunstsalon Hermes, Frank- July 1–ly22 1–22: Exposition de la Société und Kunstfreundinnen in Berlin, universelle de 1900, Palais du furt a. M. (2 paintings, documented suisse des beaux-arts [Turnusaus- Königliches Akademie-Gebäude Champ-de-Mars, Paris (3 paintings, by a review) stellung; details as to venue not Unter den Linden, Berlin (2 paint- nos. 140–42) Apprilril 20–June20–June 3030: Salon de la documented], Le Locle (1 painting, ings, nos. 222, 223) MayMay 5–September5–September 1616: Grosse Société nationale des beaux-arts, no. 159) May 1–June 3ay0: Salon1–June de 30 la Société Berliner Kunstausstellung, Landes- Grand Palais, Paris (6 paintings, August 2–16ugust: Schweizerische 2–16 Kunst- nationale des beaux-arts, Palais Ausstell-Gebäude am Lehrter Bahn- nos. 993–96, 460, 461) ausstellung [Turnusausstellung], des Beaux-Arts au Champ-de-Mars, hof, Berlin (1 painting, no. 1064) Maayy 1–October1–October 2020: Deutsch- Reitschule, Solothurn (1 painting, Paris (4 paintings, nos. 1050–53) May 6–27ay: Turnus-Ausstellung6–27 nationale Kunstausstellung im no. 159) Augustugust 229–January9–January 77:: Spring Ex- des Schweizerischen Kunstver- neu erbauten dauernden Kunst- Auugustgust 25–September25–September 9: Schweizeri- hibition of New Selected Pictures eins, Kunsthalle Basel (1 painting, ausstellungsgebäude, Düsseldorf sche Kunst-Ausstellung [Turnusaus- from the Paris and Munich Salons, no. 186) (2 paintings, nos. 874, 875) stellung; details as to venue not The Continental Gallery, London [From June]From: Münchener June] Jah res - Juunene 11–end–end ooff OOctoberctober: Münchener documented), Lucerne (1 painting, (number of works unknown, aus stellung, Königlicher Glaspalast, Jahresausstellung, Königlicher no. 159) documented by a letter) Munich (4 paintings, nos. 849–52) Glaspalast, Munich (1 painting, Septeptemberember 221–October1–October 7: Schwei- SeptemberSeptember 11–October11–October 2323: June 10–24une: Turnus-Ausstellung 10–24 no. 1084) zerische Kunst-Ausstellung [Turnus- V. Nationale Kunst-Ausstellung des Schweizerischen Kunstvereins, November 2–30ovember: Vierte 2–30 Jahres- ausstellung; details as to venue not der Schweiz, Kunsthalle Basel Bibliotheksaal, St. Gallen (1 painting, Ausstellung der Frankfurter Künstler, documented), Aarau (1 painting, (3 paintings, nos. 224–26) no. 186) Frankfurter Kunstverein, Frankfurt no. 159) July 8–22ly 8–22: Turnus-Ausstellung a. M. (1 painting, no. 156) 1899 des Schweizerischen Kunstvereins, 1895 May 1–June 3ay0: Salon1–June de 30 la Société Conciliums-Saal, Konstanz (1 paint- 1903 AAprilpril 225–June5–June 3300: Salon de la Société nationale des beaux-arts, Palais ing, no. 186) JJanuaryanuary 11–February11–February 1111: Ständige nationale des beaux-arts, Palais des Beaux-Arts au Champ-de-Mars, [AugusAugust]t]: Frank furter Kunstverein, Ausstellung moderner Kunstwerke des Beaux-Arts au Champ-de-Mars, Paris (7 paintings, nos. 1247–53) Frankfurt a. M. (2 paintings, docu- im Künstlerhaus. I. Serie 1903, Paris (2 paintings, nos. 1057, 1058) June 11–Juluney 2: Turnus-Ausstellung11–July 2 mented by a review) Künstlerhaus Zürich (20 paintings, Aprilpril 26: 26Art auction, Grosser des Schweizerischen Kunstvereins, Septeptemberember 2–162–16: Turnus-Aus- nos. 1–20) Börsensaal, Zurich (1 painting, Schützenhaus, Glarus (2 paintings, stellung des Schweizerischen [MaMay]y]: Exposition des femmes lot 51) nos. 142, 143) Kunst vereins, Kantonale Turnhalle, peintres et sculpteurs suisses (de- Septeptemberember 11–29–29: Herbst-Aus- July 9–25uly: Turnus-Ausstellung 9–25 Chur (1 painting, no. 186) tails as to venue not documented) stellung von Werken Schweizer- des Schweizerischen Kunstvereins, [FFromrom NovemberNovember 10]10]: 2. Jahres- Lausanne (1 painting, documented ischer Künstler, Börsensaal, Conciliums-Saal, Konstanz (2 paint- aus stellung von Werken Frankfurter by reviews) Zurich (2 paintings, nos. 62, 63) ings, nos. 142, 143) Künstler, Frankfurter Kunstverein, Apprilril 116–June6–June 3300: Salon de la [November]November]: Kunstsalon Keller Frankfurt a. M. (2 paintings, Société nationale des beaux-arts, 1896 und Reiner, Berlin (24 works, nos. 126, 127) Grand Palais, Paris (2 paintings, AAprilpril 225–June5–June 3300: Salon de la Société documented by reviews) Noovembervember 25–January25–January 3: Ständige nos. 1111, 1112) nationale des beaux-arts, Palais des August 6–27ugust: Kunst-Ausstellung 6–27 Ausstellung moderner Kunstwerke Juunene 11–end–end ooff OOctoberctober: Münchener Beaux-Arts au Champ-de-Mars, (Turnus des Schweizerischen Kunst- im Künstlerhaus. X. Serie 1900 Jahresausstellung, Königlicher Paris (5 paintings, nos. 1066–70) vereins), Bibliothek-Saal, St. Gallen (Weihnachtsausstellung Zürcher Glaspalast, Munich (2 paintings, Maayy 11–October–October 1155: Schweizerische (2 paintings, nos. 142, 143) Künstler), Künstlerhaus Zürich nos. 963, 964) Landes-Ausstellung (details as to (1 work, no. 40) venue not documented), Geneva (3 paintings, nos. 493–95)

195 1904 SeptemberSeptember 27–October27–October 2828: Zürcher 1910 1912 [JanuaryJanuary]]: Gedächtnisausstellung Kunstgesellschaft, Künstlerhaus. VII. April–Maypril–May: 1. Ausstellung der freienJananuary uary 228–mid-February8–mid-February: Frank- für Hans von Marées, Städtisches Serie 1906 (Frankfurt-Cronberger Vereinigung Frankfurter Künstler, furter Kunst, Frankfurter Kunst- Museum Elberfeld, Wuppertal Künstlerbund), Künstlerhaus Zürich Frankfurter Kunstverein, Frankfurt verein, Frankfurt a. M. (3 paintings, (at least 5 paintings, documented (7 works, nos. 27–33) a. M. (2 paintings, nos. 41, 42) nos. 62–64) by a review) Apprilril 15–June15–June 3030: Salon de la Aprilpril 14–June14–June 3030: Salon de la [April]pril]: Ausstellung des Frank- 1907 Société nationale des beaux-arts, Société nationale des beaux-arts, furt-Cronberger Künstlerbundes, January 2–22anuary: Ausstellung 2–22 des Grand Palais, Paris (2 paintings, Grand Palais, Paris (2 paintings, Kunsthandlung Schulte, Berlin Frankfurt-Cronberger Künstler- nos. 1061, 1062) nos. 1113, 1114) (number of works unknown, bundes, Frankfurter Kunstverein, April 17–Julypril 3: 17–JulyAusstellung 3 zur Maayy 25–September25–September 30: documented by reviews) Frankfurt a. M. (8 paintings, Eröffnung des Kunsthauses am Internationale Kunstausstellung Aprilpril 17–June17–June 3030: Salon de la nos. 59–66) Heimplatz, Kunsthaus Zürich des Sonderbundes Westdeutscher Société nationale des beaux-arts, Apprilril 14–June14–June 3030: Salon de la (3 paintings, nos. 398–400) Kunstfreunde und Künstler zu Cöln, Grand Palais, Paris (4 paintings, Société nationale des beaux-arts, [MaMay]y]: Schwarz-Weiss-Ausstellung, Städtische Ausstellungshalle am nos. 1071–74) Grand Palais, Paris (2 paintings, Frankfurter Kunstverein, Frankfurt Aachener Tor, Cologne (1 painting, Novemberovember 6–December6–December 4: nos. 1024, 1025) a. M. (1 drawing, documented no. 309) Sechste Jahresausstellung der Mayay 1–October1–October 2020: Internationale by a review) Juneune 9–July9–July 3131: Ausstellung des Frankfurter Künstler, Frankfurter Kunst-Ausstellung, Kunsthalle Mann- JulyJuly 21–September21–September 2828: Frankfurter Verbandes der Kunstfreunde in den Kunstverein, Frankfurt a. M. heim (5 paintings, nos. 663–66a) Kunstschau, Frankfurter Kunst- Ländern am Rhein, Hotel Terminus, (2 paintings, nos. 124, 125) MMayay 111–September1–September 2929: Deutsch- verein, Frankfurt a. M. (2 paintings, Metz (1 painting, no. 187) nationale Kunst-Ausstellung, nos. 39, 40) Summeummerr: Ständige Ausstellung, 1905 Städtischer Kunstpalast, Düsseldorf Juulyly 331–September1–September 30: Kunstsalon J. P. Schneider, Frankfurt [JanuaryJanuary]]: Ausstellung des Frank- (3 paintings, nos. 736–38) X. Nationale Kunstausstellung a. M. (number of works unknown, furt-Cronberger Künstlerbundes, [November]November]: Deutsche Kunstaus- der Schweiz, Kunsthaus Zürich catalogue only lists names of Frankfurter Kunstverein, Frankfurt stellung, exhibition building in the (1 painting, no. 271) participating artists) a. M. (number of works unknown, Flora park grounds, Cologne (1 OOctoberctober 30–November30–November 2727: Occtobertober 19–November19–November 3: documented by a review) painting, documented by reviews) 12. Jahresausstellung der Frankfurter Porträt-Ausstellung, Festhalle, Apprilril 15–June15–June 3030: Salon de la Künstler, Frankfurter Kunstverein, Frankfurt a. M. (6 paintings and Société nationale des beaux-arts, 1908 Frankfurt a. M. (1 painting, no. 109) 1 drawing, nos. 158–63, 250) Grand Palais, Paris (4 paintings, January 2–2anuary6: Ausstellung 2–26 des NNovemberovember 2929: Versteigerung nos. 1038–41) Frankfurt-Cronberger Künstler- Sammlung L. LaRoche-Ringwald, 1913 [SeptemberSeptember]]: Württembergischer Bundes, Frankfurter Kunstverein, Kunsthandlung Eduard Schulte, Febbruaryruary 16–March16–March 9: Frühjahrs- Kunstverein, Stuttgart (3 paintings, Frankfurt a. M. (9 paintings and Berlin, and Galerie M. Goldschmidt, ausstellung Frankfurter Künstler, documented by a review) 5 drawings, nos. 97–110) Frankfurt a. M. (2 paintings, Frankfurter Kunstverein, Frankfurt [OctobeOctober]r]: Kunstverein Karlsruhe [March]March]: Ausstellung des Frank- nos. 64, 65) a. M. (3 paintings, nos. 60–62) (3 paintings, documented by furt-Cronberger Künstlerbundes, [March]March]: Kunsthandlung Schulte, a review) Kunsthandlung Schulte, Berlin 1911 Berlin (number of works unknown, Novemberovember 5–December5–December 3: (1 painting, documented by Frromom FebruaryFebruary 1: Ausstellung der documented by a review) 7. Jahres-Ausstellung der Frank- a review) neusten Arbeiten von Ottilie W. Aprilpril 14–June14–June 3030: Salon de la furter Künstler, Frankfurter Kunst- Aprilpril 15–June15–June 3030: Salon de la Roederstein und Jakob Nussbaum, Société nationale des beaux-arts, verein, Frankfurt a. M. (2 paintings, Société nationale des beaux-arts, Frankfurter Kunstverein, Frank - Grand Palais, Paris (1 painting, nos. 115, 116) Grand Palais, Paris (3 paintings, furt a. M. (at least 10 paintings, no. 1076) [DecemberDecember]]: Kunstsalon Rudolf nos. 993–95) documented by reviews) From June 1rom5: Ausstellung June 15 zum Bangel, Frankfurt a. M. (number AugustAugust 6–September6–September 2277: Apprilril 116–June6–June 3300: Salon de la 10-jährigen Jubiläum des Verbandes of works unknown, documented IX. Nationale Kunstausstellung Société nationale des beaux-arts, der Kunstfreunde in den Ländern by a review) der Schweiz, Kunsthalle and Stadt- Grand Palais, Paris (2 paintings, am Rhein, Kunstmuseum Essen kasino, Basel (3 paintings, nos. 333, nos. 1111, 1112) (number of works unknown, 1906 334, 336) Maayy 18–mid-October18–mid-October: Kunstausstel- documented by a review) January 2–2anuary2: Ausstellung 2–22 des [October]October]: Collectiv-Ausstellung, lung Darmstadt 1911, held by Freie [November]November]: Ausstellung von Frankfurt-Cronberger Künstler- Galerie Oscar Hermes, Frankfurt Vereinigung Darmstädter Künstler, O. W. Roederstein und J. Nussbaum, Bundes, Frankfurter Kunstverein, a. M. (number of works unknown, Städtisches Ausstellungsgebäude Kunstsalon J. P. Schneider, Frankfurt Frankfurt a. M. (7 paintings, catalogue occasionally only lists auf der Mathilden-Höhe, Darmstadt a. M. (6 paintings, documented nos. 34–40) names of participating artists) (2 paintings, nos. 233, 234) by reviews) [FebruaryFebruary]]: Ausstellung des Frank- [DecemberDecember]]: Kunstsalon Marie Maayy 227–October7–October 8: Grosse furt-Cronberger Künstler-Bundes, Held, Frankfurt a. M. (1 painting, Kunstausstellung, Städtischer Salon Heinemann, Frankfurt a. M. documented by a review) Kunstpalast, Düsseldorf (number of works unknown, (2 paintings, nos. 707, 708) documented by a review) 1909 Juunene 111–July1–July 3030: Ausstellung des Apprilril 15–June15–June 3030: Salon de la Aprilpril 15–June15–June 3030: Salon de la Verbandes der Kunstfreunde in den Société nationale des beaux-arts, Société nationale des beaux-arts, Ländern am Rhein, Kunsthaus Zürich Grand Palais, Paris (4 paintings, Grand Palais, Paris (2 paintings, (2 paintings, nos. 143, 144) nos. 1043–46) nos. 998, 999) [May]May]: Exposition des femmes peintres et sculpteurs (details as to venue not documented), Lausanne (2 paintings, documented by reviews)

196 1914 1927 1930 1934 April 9–Maprily 3: 9–MayApril-Ausstellung 3 , Juneune 11–August11–August 2828: Internationale SeptemberSeptember 228–October8–October 1155: Febbruaryruary 11–March11–March 1111: Kraft durch Kunsthaus Zürich (16 paintings, Ausstellung “Musik im Leben der Ausstellung von GEDOK-Mitgliedern Freude, Frankfurter Kunstverein, nos. 1–16) Völker” im Rahmen des “Sommers “Frauen von Frauen dargestellt”, Frankfurt a. M. (1 painting, no. 79) Apprilril 22–May22–May 1515: Frühjahrsaus- der Musik,” Messegelände, Frank - Frankfurter Kunstverein, Frankfurt Maarchrch 118–April8–April 8: Ottilie W. stellung Frankfurter Künstler, furt a. M. (probably 1 painting, a. M. (1 painting, no. 34) Roederstein. Ausstellung aus Frankfurter Kunstverein, documented by letters) Anlass ihres 75. Geburtstages, Frankfurt a. M. (2 paintings, Septembereptember 33–October–October 2: 1931 Frankfurter Kunstverein, Frankfurt nos. 55, 56) V. Z. K. Werke aus dem Besitz von [June]June]: Jahresausstellung des a. M. (50 paintings, nos. 1–50) May–Octobeay–Octoberr: Ausstellung des Mitgliedern der Vereinigung Zürcher Frankfurter Künstlerbundes, [MaMay]y]: Deutsche Kunst, Frankfurter Verbandes der Kunstfreunde in Kunstfreunde, Kunsthaus Zürich Frankfurter Kunstverein, Kunstverein, Frankfurt a. M. (1 den Ländern am Rhein, Kgl. Kunst- (2 paintings, nos. 223, 224) Frank furt a. M. (3 paintings, painting, documented by a review) gebäude, Schlossplatz, Stuttgart documented by a review) DDecemberecember 113–January3–January 1313: (2 paintings, nos. 36, 377) 1928 AugustAugust 30–October30–October 1111: Ausstellung, Kunsthaus Zürich Maayy 1515–October–October 15: May 16–July 2ay2: XVII.16–July Nationale 22 18. Nationale Kunstausstellung, (21 paintings, no. 182–202) Schweizerische Landesausstellung Kunstausstellung, Kunsthaus Zürich Palais des Expositions, Geneva (XII. Nationale Kunstausstellung), (2 paintings, nos. 326, 327) (1 painting, no. 516) 1937 [Neufeld, Gebäude 53], Bern Augustugust 119–September9–September 30: SeptemberSeptember 66–October–October 1111: [FFromrom JJuneune 55]]: Ausstellung (1 painting, no. 413) Künstler-Selbstbildnisse unserer Zeit, “Das Alter” in der schweizerischen “Deutsche Frauenkunst” der Noovembervember 11–December–December 6: Frankfurter Kunstverein, Frankfurt Kunst, Kunstmuseum Winterthur Reichs-GEDOK, Frankfurter Aus Zürcher Privatsammlungen, a. M. (1 painting, no. 83) (2 works, nos. 171, 172) Kunst verein, Frankfurt a. M. Kunsthaus Zürich (3 paintings, Augustugust 226–September6–September 30: (number of works unknown, nos. 162–64) Schweizerische Ausstellung für 1932 documented by a review) Frauenarbeit, [Gelände auf dem Febbruaryruary 28–March28–March 2288: 1924 Viererfeld], Bern (3 paintings, Gesellschaft Schweizerischer 1938 DDecemberecember 11–January11–January 1111: nos. 268–70) Malerinnen, Bildhauerinnen und April 3–24pril: Gedächtnis-Ausstellung3–24 Zürcher Bildnisse und Gelegen- Kunstgewerblerinnen, Sektion Bern, O. W. Roederstein, Frankfurter heitsgraphik, Kunsthaus Zürich 1929 Kunsthalle Bern (6 paintings, Kunstverein, Frankfurt a. M. (2 paintings, nos. 140, 141) April 2pril2: O. W. 22 Roederstein. nos. 112–17) (115 paintings, 22 drawings Zum 70. Geburtstage, 22. April 1929, May 10–July 15ay: Hundert10–July 15Jahre and 3 etchings, nos. 1–140) 1925 Frankfurter Kunstverein, Frankfurt Frankfurter Kunst 1832–1932, Juunene 118–July8–July 3311: Marianne von January 2–31anuary: Das Frankfurter 2–31 a. M. (28 works, nos. 1–28) Frankfurter Kunstverein, Frankfurt Werefkin 1860–1938, Ottilie W. Bildnis 1901–1925, Frankfurter SeptemberSeptember 20–October20–October 2020: a. M. (6 paintings, nos. 212, 213, Roederstein 1859–1937, Hans Kunst verein, Frankfurt a. M. Jubiläums-Ausstellung gegenwär- 215–18) Brühlmann 1878–1911, Kunsthaus (3 paintings, nos. 79–81) tiger Frankfurter Kunst anlässlich Zürich (64 works, nos. 55–118) Januaryanuary 11–February11–February 1: Kunsthaus des hundertjährigen Bestehens Auugustgust 33–September–September 4: Zürich (23 paintings, 7 drawings des Frankfurter Kunstvereins, Ottilie W. Roederstein, Marianne and 6 monotypes, nos. 83–118) Frankfurter Kunstverein, Frankfurt von Werefkin, Raoul Domenjoz, a. M. (1 painting, no. 130) Albert Locca, Kunsthalle Bern (78 works, nos. 1–78)

197 Selected Archival Sources

Frankfurt am Main Nogent-sur-Marne Zurich

Städeltädel MuseumMuseum Institutnstitut ffürür StStadtgeschichteadtgeschichte Foondationndation ddeses AArtistes,rtistes, Arrchiveschives ooff ZZürcherürcher KKunst-unst- RRoederstein-Jughennoederstein-Jughenn AArchiverchive Bibliothèqueibliothèque Smith-LesouëfSmith-Lesouëf gesellschaftesellschaft / KunsthausKunsthaus ZürichZürich Autograph collection, S4b, in thethe StädelStädel MuseumMuseum call no. 374: “Roederstein Records of outgoing correspon- a) Collated materials of Hermann an verschiedene Mitglieder dence, artists’ letters, minutes of Paris Jughenn, “Aus meinem Skizzen- der Familie Andreae” selection and hanging committees, buch O. W. Roederstein,” in- Provisions Office (Fürsorgeamt), press reviews Biibliothèquebliothèque nationalenationale ddee FranceFrance clu ding the collected corres- call no. 4.447: “Heussen- pon dence of Roederstein and stamm’sche Stiftung; Stamm- a) Manuscrits, Archives de la famille Scchweizerischeshweizerisches IInstitutnstitut fürfür Winterhalter, call no. OR 1–161 vermögen – Ottilie W. Roeder- Smith-Lesouëf (NAF 28416), Kunstwissenschaft,unstwissenschaft, ddocumentationocumentation stein und Dr. med. Elisabeth Lettres reçues par Madeleine b) Private photos and photographic Dossier on Ottilie W. Roederstein H. Winterhalter’sche Stiftung” Smith, tome VIII and tome IX reproductions of works from the Municipal authority records, legacies of Roederstein, Winter- b) Département des estampes call no. 9.605: “Vermächtnis halter, and Jughenn, call no. OR et de la photographie, Réserve Ottilie W. Roederstein” Foto 1–34 Archives Smith-Lesouëf Municipal authority records, S, ZF 120 petit folio famille 2 call no. 2.739, vol. 3: “Geburt- Städeltädel ArchivesArchives ZF 120 petit folio famille 3 stags- und Jubiläumsfeiern ZF 120 petit folio famille 4 a) Administrative records of the Frankfurter und auswärtiger ZF 120 petit folio Nogent Städelsches Kunstinstitut Gelehrter und Künstler” ZF 1201 O. W. Roederstein Call no. 314: “Schule, Lehrbetrieb, Collection on personal histories, Ateliervermietungen, Atelier S2, call no. 4002: “Roederstein, Muséeusée dd’Orsay,’Orsay, ddocumentationocumentation Nr. 41” Ottilie Wilhelmine” Call no. 623: “Frankfurter Künstler- Department of Foundations, call Fiche d’artiste 128226 hilfe” no. 389: “Ottilie W. Roederstein Call no. 628: “Angebote von Privat- und Dr. med. Elisabeth Winter- personen” haltersche Stiftung” Call no. 643: “Schriftwechsel mit Personen aus dem Umkreis des Haannanna BBekkerekker vvomom RRathath AArchiverchive Städelschen Kunstinstituts” Roederstein Correspondence Call no. 688: “Aufbewahrung und Rückgabe fremden Kunstgutes (A–K)” Hofheim am Taunus Call no. 712: “Aufbewahrung und Rückgabe fremden Kunstgutes Stadtarchitadtarchivv (L–Z)” Call no. 736: “Leihgabe für Aus- a) Personal library of Winterhalter/ stellungen” (sorted by name Roederstein, call nos. 02.K1, of locality A–J) 02.K2, 02.K5 Call no. 737: “Leihgabe für Aus- b) Private photos containing OWR, stellungen (sorted by name call no. 02.K11 of locality K–Z) Call no. 892: “Angebote von Privaten, c) Private photos not containing Roederstein Gemälde” OWR, call no. 02.K12 Call no. 893: “Angebote von Privaten, Roederstein und Battenberg Gemälde” Call no. 1876: “Unerledigte, erledigte Quittungen, etc.” Call no. 1918: “Sitzungsberichte Galerie-Deputation” (carbon copies) b) Städtische Galerie Call no. 634: “Vermächtnis und Schenkungen von Büchern und Kunstwerken” Call no. 1885: “Acta Malerei: R”

198 Selected Literature / In order of date of publication

Catalogue Raisonné Monographic Catalogues

Rök, Barbara. Ottilie W. Roederstein von Wartensleben, Gabriele. O. W. Roederstein. Zum 70. Geburts- Refugium. Künstleraufenthalte in (1859–1937). Eine Künstlerin zwi- “Ottilie W. Roederstein zu ihrem tage. Exh. cat. Frankfurter Kunst- Hofheim und im Taunus. Edited by schen Tradition und Moderne. Mo- 70. Geburtstag.” An der Wende. verein. Frankfurt a. M., 1929. Eva Scheid. Exh. cat. Stadtmuseum nographie und Werkverzeichnis. Zeitschrift für weibliche Bildung Hofheim am Taunus (a joint exhibi- Ph. D. diss., Philipps-Universität, und Kultur (year 3, issue 3, Ottilie W. Roederstein. Ausstellung tion held by the Stadtmuseum Hof- Marburg. Edited by Eva Scheid and March 1929, pp. 65–67). aus Anlass ihres 75. Geburtstages. heim am Taunus and the 1822- Stif- published on behalf of the municipal Exh. cat. Frankfurter Kunstverein. tung der Frankfurter Sparkasse to administration of the city of Hofheim Laengsdorff, Julia Virginia. Frankfurt a. M., 1934. mark the town’s 650th anniver sary). am Taunus—Stadtmuseum/Stadtar- “Die Roederstein.” Westermanns Hofheim am Taunus, 2001. chiv on the occasion of the exhibition Monatshefte (year 74, issue 877, Gedächtnis-Ausstellung O. W. of the same name. Marburg, 1999. 1929, pp. 101–08). Roederstein. Exh. cat. Frankfurter Ida Gerhardi. Deutsche Künstlerin- Kunstverein. Frankfurt a. M., 1938. nen in Paris um 1900. Edited by Su- Jughenn, Hermann. Ottilie Roeder- sanne Conzen. Exh. cat. Städtische Autobiographical Texts stein – zum 100. Geburtstag. Die Marianne von Werefkin 1860–1938, Galerie Lüdenscheid. Munich, 2012. Stadt Hofheim a. Ts. gedenkt am Ottilie W. Roederstein 1859–1937, Roederstein, Ottilie W. “Mein 22. April ihrer Ehrenbürgerin, der Hans Brühlmann 1878–1911. Exh. cat. Malweiber. Von Ottilie Roederstein Lebenslauf.” In Schweizer Frauen Malerin Ottilie W. Roederstein, Kunsthaus Zürich. Zurich, 1938. bis Gabriele Münter. Edited by Ingrid der Tat, vol. 3: 1855–85. Zurich, anlässlich des 100. Geburtstages. Ehrhardt. Exh. cat. Kronberger Ma- 1929, pp. 82–87. Hofheim am Taunus, 1959. Ottilie W. Roederstein, Marianne lerkolonie Museum. Kronberg im von Werefkin, Raoul Domenjoz, Taunus, 2012. “Ottilie W. Roederstein.” In Füh r- Jughenn, Hermann. “Ottilie W. Albert Locca. Exh. cat. Kunsthalle ende Frauen Europas. Elga Kerns Roederstein und ihr Werk.” Bern. Bern, 1938. Die andere Moderne. Kunst und Standardwerk von 1928/1930, edited Hofheimer Chronik, (offprint II, Künstler in den Ländern am Rhein by Bettina Konrad and Ulrike Leusch- 1963, n. pag). Ottilie W. Roederstein, 1859–1937. 1900 bis 1922, Exh. cat. Städtische ner. Munich/Basel 1999, pp. 34–40. Eine Malerin in Hofheim. Edited by Wessenberg-Galerie, Constance / Rök, Barbara. “Ottilie Wilhelmine Hermann Haindl. Exh. cat. Rathaus Museum Giersch, Frankfurt a. M. / Roederstein (1859–1937). Eine und Haindlhof, Hofheim am Taunus Städtische Galerie, Karlsruhe. Monographic Articles Künstlerin im Taunus-Main-Gebiet.” and Kunstverein Hofheim e.V. Constance, 2013. Hessische Heimat (vol. 42, issue 3, Hofheim am Taunus, 1980. “Weitere Arbeiten des Architekten 1992, pp. 96–99). Künstlerin sein! Ottilie W. Roeder- Hermann A. E. Kopf, Frankfurt stein, Emy Roeder, Maria von a. Main. Landhaus Winterhalter- Zieglgänsberger, Roman. Karl von Catalogues from Group Heider-Schweinitz. Edited by Roederstein, Hofheim im Taunus.” Pidoll. Das Leben und das Werk. Exhibitions Susanne Wartenberg and Birgit Wohnungskunst. Das bürgerliche Frankfurt a. M., 2005. Sander. Exh. cat. Museum Giersch, Heim. Illustrierte Halbmonatshefte April-Ausstellung. Exh. cat. Frankfurt a. M. Petersberg, 2013. für Wohnungskunst, Innenarchitek- Rök, Barbara. “‘Ich arbeitete mit Kunsthaus Zürich. Zurich, 1914. tur und Kunstgewerbe, year 1, rastlosem Eifer’. Ottilie Wilhelmine Damenwahl! 100 Jahre Frauen- 1909/10, first October issue, Roedersteins langer Weg zu einem Ausstellung [January 11–February 1, wahlrecht. Edited by Dorothee pp. 253-60, second October issue, eigenen Stil.” In Ida Gerhardi. Deut- 1925]. Exh. cat. Kunsthaus Zürich. Linnemann. Exh. cat. Historisches pp. 275-78. sche Künstlerinnen in Paris um 1900. Zurich 1925. Museum Frankfurt (Schriften des Exh. cat. Städtische Galerie Lüden- Historischen Museums Frankfurt Schäfer, Wilhelm. “Ottilie W. scheid. Munich, 2012, pp. 93–111. Ausstellung [December 13, am Main, vol. 36) Frankfurt a. M., Roederstein.” Die Rheinlande 1934–January 13, 1935]. Exh. cat. 2019. (vol. 22, 1912, n. pag.). Rök, Barbara. “‘Die bedeutende Kunst haus Zürich. Zurich, 1934. Individualität unter den weiblichen Welt im Umbruch. Kunst der 20er Laengsdorff, Julia Virginia. Malern in Frankfurt …’ Ottilie W. Artistes suisses. Exh. cat. Manoir Jahre. Edited by Kathrin Baumstark “Ottilie Wilhelmine Roederstein Roederstein und ihr Weg in die de Martigny. Martigny, 1975. et al. Exh. cat. Bucerius Kunst zu ihrem 70. Geburtstag.” Frau Unabhängigkeit.” In Künstlerin sein! Forum, Hamburg / Münchner und Gegenwart. Zeitschrift für Ottilie W. Roederstein, Emy Roeder, Frauen an der Staffelei. Ein ver nach - Stadtmuseum. Munich, 2019. die gesamten Fraueninteressen Maria von Heider-Schweinitz. Exh. lässigtes Kapitel der Frankfur ter (vol. 25, no. 14, 1928/29, p. 415). cat. Museum Giersch, Frankfurt a. M. Kunstgeschichte. Edited by Inge Berufswunsch Malerin! Elf Weg- Petersberg, 2013, pp. 9–19. Eichler. Exh. cat. Frankfurter Spar- bereiterinnen der Schweizer Kunst. Tobler, Clara. Ottilie W. Roederstein. kasse, Kundenzentrum. Frankfurt Exh. cat. Historisches und Völker- Zurich et al., 1929. Görner, Karin. Ottilie W. Roeder- a. M., 1994. kundemuseum, St. Gallen. Schwell- stein und Elisabeth Winterhalter. brunn, 2020. Battenberg, Mathilde. “Zum 70. Frankfurter Jahre 1891–1909. Edited Kunstlandschaft Rhein-Main. Malerei Geburtstag von Ottilie W. Roeder- by Dagmar Priepke, Heussenstamm- im 19. Jahrhundert 1867–1918. Exh. stein.” Aus dem Reich der Frau, 4. Stiftung. Frankfurt a. M., 2018. cat. Haus Giersch – Museum Regio- Beiblatt der Frankfurter Nachrichten naler Kunst. Frankfurt a. M., 2001. (no. 110, April 21, 1929, n. pag.).

199 Recommended Reading on Berger, Renate, ed. “Und ich sehe Eichler, Inge. “Der schwierige Deepwell, Katy. Women Artists Female Artists in the Nineteenth nichts, nichts als die Malerei.” Auto- Weg der Frankfurter Malerinnen Between the Wars: “A Fair Field Century and the First Half of the biographische Texte von Künst- an die Staffelei.” In Kunst und and No Favour.” Manchester / Twentieth Century lerinnen des 18.–20. Jahrhunderts. Künstler in Frankfurt am Main im New York, 2010. Frankfurt a. M., 1987. 19. und 20. Jahrhundert, edited H. M., “Pariser Studientage. Kolle- by Dieter Rebentisch and Evelyn de Lannoy, Isabelle. “Jean-Jacques gialischer Ratgeber für Malerinnen Linda Nochlin. Women, Art Hils-Brockhoff (Archiv für Frank- Henner et ‘l’atelier des dames.’ und solche, die es werden wollen.” and Power and Other Essays. furts Geschichte und Kunst, vol. 69). ‘Des têtes, des morceaux seule- Die Kunst für Alle (vol. 12, 1896/97), London, 1989. Frankfurt a. M., 2003, pp. 39−56. ment?’” In Marie Petiet. Être femme pp. 150–53. peintre au 19e siècle. Exh. cat. Musée Greer, Germaine. “‘A tout prix Noël, Denise. “Les femmes pein - Petiet, Limoux / Musée des beaux- Holland, Clive. “Lady Art Students’ devenir quelqu’un’: The Women tres dans la seconde moitié du XIXe arts de Carcassonne. Milan, 2014. Life in Paris.” The Studio (vol. 30, of the Académie Julian.” In Artistic siècle.” Clio. Femmes, Genre, 1904), pp. 225–33. Rela tions: Literature and the Visual Histoire (vol. 19, 2004), pp. 1–13. Die Malweiber von Paris. Deutsche Arts in Nineteenth-Century France, Künstlerinnen im Aufbruch. Edited Die deutsche Künstlerin. Ein Gedok- edited by Peter Collier and Robert Deseyve, Yvette. Der Künstlerin nen- by Kathrin Umbach and Helga Gut- buch. Edited by Edith Mendelssohn Lethbridge. New Haven/London, Verein München e. V. und seine brod. Exh. cat. Edwin Scharff Mu- Bartholdy, GEDOK Gemeinschaft 1994, pp. 40–58. Damen-Akademie. Eine Studie zur seum, Neu-Ulm / Kunsthalle Jesuiten- der Vereinigungen Deutscher und Ausbildungssituation von Künst- kirche, Aschaffenburg / Kunststätte Oesterreichischer Künstlerinnen und Borzello, Frances. Seeing lerinnen im späten 19. und frühen Bossard, Jesteburg. Berlin, 2015. Kunstfreundinnen. Leipzig, 1933. Ourselves: Women’s Self-Portraits. 20. Jahrhundert. Munich, 2005. London, 1998. Magnan, Isabelle, “Jean-Jacques Wein, Jo Ann. “The Parisian Training Horsley, Joey and Luise F. Pusch, Henner. Professeur des dames.” for American Women Artists.” Muysers, Carola, ed. Die bildende eds. Berühmte Frauenpaare, In Musée national Jean-Jacques Woman’s Art Journal (vol. 2, 1981), Künstlerin. Wertung und Wandel in Frankfurt a. M., 2005. Henner. De la maison d’artiste au pp. 41–44. deutschen Quellentexten 1855–1945. musée. Paris, 2016, pp. 125–33. Dresden, 1999. Behling, Katja and Anke Manigold, Berger, Renate. Malerinnen auf Die Malweiber. Unerschrockene Women Artists in Paris 1850–1900. dem Weg ins 20. Jahrhundert. Overcoming All Obstacles: The Künstlerinnen um 1900. Edited by Laurence Madeline. Exh. Kunstgeschichte als Sozialgeschichte. Women of the Académie Julian. Munich, 2009. cat. Denver Art Museum / Speed Cologne, 1982 (2nd expanded edi- Edited by Gabriel P. Weisberg and Art Museum, Louisville / Clark Art tion, 1986). Jane R. Becker. Exh. cat. The Dahesh Mader, Rachel. Beruf Künstlerin. Insti tute, Williamstown. New Haven, Mu seum, New York. New Brunswick/ Strategien, Konstruktionen und 2017. Huber, Dorothee. “Zur Präsenz der London, 1999. Kategorien am Beispiel Paris Künstlerinnen im schweizerischen 1870–1900. Berlin, 2009. Kunstbetrieb 1890–1928.” Zeitschrift für Schweizerische Archäologie und Kunstgeschichte (vol. 43, 1986) pp. 399–402.

200 Exhibited Works

The works are listed in order Miss Mosher or End of Summer / Madeleine Smith at the Easel / Let the Little Children Come of medium and year of execution. Fin d’été, ca. 1887 Madeleine Smith vor der Staffelei, unto Me / Lasset die Kindlein Unless otherwise indicated, Oil on canvas, 201 × 80 cm ca. 1890 zu mir kommen, 1893 they will be on view at both the Private collection Oil on canvas, 163 × 99 cm Oil on canvas, ca. 106 × 87 cm Kunsthaus Zürich and Städel Rök 1999, cat. rais. no. 91 Fondation des Artistes, Paris, Private collection, Hofheim Museum in Frankfurt am Main. Cat. 10, p. 42 Bequest of Jeanne and Madeleine Rök 1999, cat. rais. no. 191 Smith (1944) Cat. 30, p. 83 Portrait of a Painter in a Parisian Inv. no. 170 Paintings Studio / Bildnis eines Malers in Rök 1999, cat. rais. no. 61 The Painter Norbert Schrödl / einem Pariser Atelier, 1887 Cat. 2, p. 33 Der Maler Norbert Schrödl, 1893 Self-Portrait / Selbstporträt, 1883 Oil on canvas, 86.1 × 49.5 cm Oil on canvas, 123 × 75 cm Oil on canvas, 32.5 × 24.5 cm Städel Museum, Frankfurt am Main Portrait of Helene Roederstein Private collection Private collection Inv. no. SG 424 (The Painter’s Sister) / Rök 1999, cat. rais. no. 205 Rök 1999, cat. rais. no. 79 Rök 1999, cat. rais. no. 92 Bildnis Helene Roederstein Cat. 28, p. 74 Cat. 16, p. 50 Cat. 11, p. 43 (Schwester der Malerin), 1890 Oil on canvas, 103.4 × 65.2 cm Self-Portrait with Red Cap / Gertrude Angela Kingston, Portrait of Dr. Elisabeth Städel Museum, Frankfurt am Main Selbstbildnis mit roter Mütze, 1894 née Konstam / Gertrude Angela Winterhalter / Bildnis Dr. Elisabeth Inv. no. 2037 Tempera on wood, 36 × 24 cm Kingston, geb. Konstam, 1884 Winterhalter, 1887 Rök 1999, cat. rais. no. 132 Kunstmuseum Basel, gift of an Oil on canvas, 55.5 × 46 cm Oil on canvas, 102.1 × 82 cm Cat. 12, p. 44 admirer of art in Zurich in 1936 Stadtmuseum Hofheim am Taunus Städel Museum, Frankfurt am Main Inv. no. 1672 Inv. no. 568/94 Inv. no. 2033 Madonna with Flowers or Month Rök 1999, cat. rais. no. 212 Rök 1999, cat. rais. no. 42 Rök 1999, cat. rais. no. 105 of Mary / Madonna unter Blumen Cat. 17, p. 60 Cat. 4, p. 37 Cat. 13, p. 45 or Mois de Marie, 1890 Oil on canvas, 130 × 89 cm Mary Magdalene at the Foot of Portrait of a Young Woman with Portrait of an African Man / Pfarrei St. Peter und Paul the Cross / Magdalena am Fusse Dark, Pinned-Up Hair and a Red Afrikaner, ca. 1887–89 Hofheim-Kriftel des Kreuzes, 1894 Coral Necklace / Porträt einer jungen Oil on canvas, 88 × 67 cm Rök 1999, cat. rais. no. 133 Tempera on wood, 58.5 × 39 cm Frau mit hochgestecktem, dunklem Private collection Cat. 31, p. 88 Stadtmuseum Hofheim am Taunus Haar und roter Korallenkette, 1885 Rök 1999, cat. rais. no. 54 Inv. no. 630/96 Oil on canvas, 60 × 46 cm Cat. 7, p. 39 Auguste Andreas, née Walluf / Rök 1999, cat. rais. no. 213 Private collection, Zurich Auguste Andreas, geb. Walluf, 1892 Cat. 32, p. 89 Rök 1999, cat. rais. no. 73 (?) Helene Roederstein with Umbrella / Oil on canvas, mounted on Zurich only Helene Roederstein mit Schirm, paperboard, 79 × 57 cm Jeanne Smith in Breton Costume / Cat. 5, p. 37 1888 Kunsthandlung J. P. Schneider Jr., Jeanne Smith als Bretonin, 1895 Oil on canvas, 115 × 84.5 cm Frankfurt am Main Oil (?) on wood, 41 × 31.5 cm Bedouin / Beduine, 1885 Private collection, Zurich Rök 1999, cat. rais. no. 172 Stadtmuseum Hofheim am Taunus Oil on canvas, 45 × 37,5 cm Rök 1999, cat. rais. no. 104 Cat. 34, p. 92 Inv. no. 201/85 Stadtmuseum Hofheim am Taunus Cat. 15, p. 47 Rök 1999, cat. rais. no. 230 Inv. no. 90508 Young Man with Rifle (Wilhelm Cat. 36, p. 94 Rök 1999, cat. rais. no. 74 Hedwig Nienhaus, ca. 1888–90 Altheim) / Junger Mann mit Gewehr Frankfurt only Pastel on canvas, 59 × 44 cm (Wilhelm Altheim), 1893 Mila von Guaita, 1896 Cat. 6, p. 38 Private collection Oil on canvas, 99.5 × 66.5 cm Tempera on wood, 46 × 33 cm Not in Rök 1999 Property of the Swiss Confederation, Private collection, Pastor Bion / Pfarrer Bion, 1886 Zurich only Federal Office of Culture, Berne Frankfurt am Main Oil on canvas, 107 × 82 cm Cat. 14, p. 46 Inv. no. fK2091 Rök 1999, cat. rais. no. 309 Kunsthaus Zürich, donated by Rök 1999, cat. rais. no. 189 Frankfurt only Consul R. Schöller, 1887 Jeanne Smith with Dog / Cat. 35, p. 93 Cat. 38, p. 95 Inv. no. 461 Jeanne Smith mit Hund, 1889 Rök 1999, cat. rais. no. 75 Oil on canvas, 207 × 100 cm Nude Boy / Jungenakt, 1893 The Orphan / Das Waisenkind, Zurich only Fondation des Artistes, Oil on canvas, 77 × 103 cm ca. 1896 Cat. 3, p. 36 Nogent-sur-Marne, Bequest of Private collection Tempera on wood, 30.5 × 26 cm Jeanne and Madeleine Smith (1944) Rök 1999, cat. rais. no. 190 Kunsthaus Zürich, 1897 Grandmother with Sleeping Child Inv. no. 191 Cat. 50, p. 106–07 Rök 1999, cat. rais. no. 283 in Her Arms / Grossmutter mit Rök 1999, cat. rais. no. 130 Zurich only schlafendem Kind im Arm, ca. 1887 Cat. 9, p. 41 Cat. 39, p. 96 Oil on canvas, 65.5 × 54.5 cm Ralf Weber, Hofheim Rök 1999, cat. rais. no. 36 (?) Cat. 8, p. 40

201 Engaged Couple / The Three Ages / Portrait of the Painter Jakob Lilly Hauck, 1916 Die Verlobten, 1897 Die drei Lebensalter, 1900 Nussbaum / Bildnis des Malers Tempera on canvas, 69.7 × 48 cm Tempera on wood, 39.5 × 46.5 cm Tempera on cardboard, 50 × 61 cm Jakob Nussbaum, 1909 Private collection, Kunsthaus Zürich, 1897 Von der Heydt-Museum Wuppertal Oil on canvas, 86.5 × 61.5 cm Frankfurt am Main Inv. no. 615 Inv. no. G244 Städel Museum, Frankfurt am Main Rök 199, cat. rais. no. 1053 Rök 1999, cat. rais. no. 337 Rök 1999, cat. rais. no. 497 Inv. no. SG 135 Frankfurt only Cat. 40, p. 97 Cat. 41, pp. 98–99 Rök 1999, cat. rais. no. 798 Cat. 66, p. 136 Cat. 51, p. 108 Nude Woman before a Landscape / Self-Portrait / Selbstbildnis, 1900 Self-Portrait / Selbstbildnis, 1916 Frauenakt vor Landschaft, 1897 Oil on wood, 49 × 31.4 cm Study of the Städel Garden / Studie Oil on canvas, 51 × 40 cm Tempera on wood, 47.5 × 24.5 cm Private collection, on permanent aus dem Städelgarten, ca. 1910 David Ragusa Kunsthaus Zürich, Bequest of loan to the Stadtmuseum Oil on paperboard, 61 × 72 cm Rök 1999, cat. rais. no. 1061 Dr. Clara Tobler, 1944 Hofheim am Taunus Stadtmuseum Hofheim am Taunus Zurich only Inv. no. 1944/0020 Rök 1999, cat. rais. no. 498 Inv. no. 190/85 Cat. 23, p. 65 Rök 1999, cat. rais. no. 338 Cat. 18, p. 61 Rök 1999, cat. rais. no. 832 Zurich only Cat. 53, p. 109 Fritz von Hochberg, 1916 Cat. 99, not pictured here Old Woman Reading / Tempera on canvas, Lesende alte Frau, 1902 Purple Irises / Violette Schwertlilien, 50.5 × 36 cm Pietà, 1897 Oil on canvas, 61 × 45.5 cm ca. 1910 Private collection Oil on canvas, 70 × 170.5 cm Städel Museum, Frankfurt am Main Tempera on canvas, 49.5 × 40 cm Rök 1999, cat. rais. no. 1074 Pfarrei St. Peter und Paul Inv. no. 1343 Private collection, Zurich Frankfurt only Hofheim-Kriftel Rök 1999, cat. rais. no. 562 Rök 1999, cat. rais. no. 862 Cat. 58, p. 130 Rök 1999, cat. rais. no. 339 Frankfurt only Cat. 79, p. 150 Cat. 33, p. 90–91 Cat. 49, p. 105 Irmgard Fischer, 1917 Saint-Cyr Cadet / Tempera on paperboard, Girl with Red Ribbon in Her Hair / Self-Portrait with Hat and Coat / Schüler von St. Cyr, 1911 49.4 × 32.5 cm Mädchen mit roter Schleife im Haar, Selbstbildnis mit Hut und Mantel, Oil tempera on canvas, 100 × 65 cm Kunsthaus Zürich, Collection 1897 1903 Kunsthaus Zürich, 1914 of Prints and Drawings, 1925 Oil (and tempera?) on cardboard, Oil on canvas, 42 × 37 cm Inv. no. 1040 Inv. no. Z.1925/0002 35.5 × 27.5 cm Private collection Rök 1999, cat. rais. no. 872 Rök 1999, cat. rais. no. 1067 Private collection, Rök 1999, cat. rais. no. 597 Cat. 72, p. 143 Cat. 64, p. 134 Frankfurt am Main Cat. 19, p. 61 Not in Rök 1999 Girl at Her Toilette / Erna Pinner, 1917 Cat. 42, p. 100 Still Life with Pears and Casserole / Mädchen bei der Toilette, 1911 Tempera on paperboard, Stillleben mit Birnen und Kasserolle, Tempera and oil on canvas, 49 × 32.2 cm The Victor / Der Sieger, 1898 1903 100 × 65 cm Kunsthaus Zürich, Collection Oil on cardboard, 91 × 69.8 cm Oil on canvas, 24.6 × 34.2 cm Private collection of Prints and Drawings, 1925 Städel Museum, Frankfurt am Main Städel Museum, Frankfurt am Main Rök 1999, cat. rais. no. 907 Inv. no. Z.1925/0003 Inv. no. 1836 Inv. no. 2032 Cat. 56, p. 119 Rök 1999, cat. rais. no. 1068 Rök 1999, cat. rais. no. 406 Rök 1999, cat. rais. no. 599 Cat. 61, p. 132 Cat. 45, p. 102 Cat. 48, p. 104 Elisabeth H. Winterhalter with Alsatian / Elisabeth H. Winterhalter David Charton with Serbian Cap / The Harquebusier’s Pot Self-Portrait with Hat / mit Schäferhund, 1912 David Charton mit Serbenkappe, (Portrait of Wilhelm II?) / Der Selbstbildnis mit Hut, 1904 Tempera on canvas, 81 × 65 cm 1917 Pappenheimer (Bildnis Wilhelm II.?), Oil on canvas, 55.3 × 46.1 cm Ralf Weber, Hofheim Tempera on paperboard, 41 × 32 cm 1899 Städel Museum, Frankfurt am Main Rök 1999, cat. rais. no. 905 Kunsthaus Zürich, Collection of Tempera on fiberboard, Inv. no. SG 134 Cat. 74, p. 145 Prints and Drawings, 1925 61.2 × 39.5 cm Rök 1999, cat. rais. no. 633 Inv. no. Z.1925/0004 Private collection, Cat. 22, p. 64 Alexander Leo von Soldenhoff, Rök 1999, cat. rais. no. 1069 Frankfurt am Main ca. 1915 Zurich only Rök 1999, cat. rais. no. 446 Still Life with Teacups / Charcoal and chalk, heightened in Cat. 60, p. 132 Cat. 46, p. 103 Stillleben mit Teetassen, 1904 white, on canvas, 85 × 60 cm Oil on canvas, 43 × 58.8 cm Historisches Museum Frankfurt Tilde Battenberg, 1917 Boy with Cherries / Kirschenjunge, Private collection Inv. no. C43169 Tempera on paperboard, 1899 Rök 1999, cat. rais. no. 634 Rök 1999, cat. rais. no. 1023 49.5 × 32 cm Oil on canvas, 37 × 29.5 cm Cat. 47, p. 104 Cat. 71, p. 142 Private collection Private collection, Rök 1999, cat. rais. no. 1072 Frankfurt am Main Gotthard Pass / Gotthardpass, 1908 Twins with Alsatian and Whip / Frankfurt only Rök 1999, cat. rais. no. 448 Oil on canvas, 45 × 61 cm Zwillinge mit Wolf und Peitsche, Cat. 62, p. 133 Cat. 44, p. 101 Private collection 1916 Rök 1999, cat. rais. no. 774 Tempera on canvas, 128.5 × 75 cm Fritz von Hochberg, 1917 The Sisters / Die Schwestern, 1900 Zurich only Stadtmuseum Hofheim am Taunus Tempera on paperboard, Tempera on paperboard, Cat. 52, p. 109 Rök 1999, cat. rais. no. 1038 45 × 28.4 cm 22.9 × 18.2 cm Zurich only Stadtmuseum Hofheim am Taunus Städel Museum, Frankfurt am Main Cat. 73, p. 144 Inv. no. 273/87 Inv. no. 2031 Rök 1999, cat. rais. no. 1074 Rök 1999, cat. rais. no. 494 Frankfurt only Cat. 43, p. 100 Cat. 59, p. 131

202 Jeanne Smith, 1917 Worldly Wisdom or Three Women National Councilor Hermann Emma Kopp in a Coat / Tempera on paperboard, 36 × 23 cm Turning Away from the World / Häberlin, M.D. / Nationalrat Emma Kopp im Mantel, 1910 Private collection Lebensweisheit or Drei welt- Dr. med. Hermann Häberlin, 1932 Charcoal and chalk, heightened in Rök 1999, cat. rais. no. 1080 abgewandte Frauen, 1926 Oil on canvas, 65.5 × 51 cm white, on laid paper, 51.3 × 45.5 cm Frankfurt only Tempera on canvas, 46 × 73 cm Kunsthaus Zürich, donated Stadtmuseum Hofheim am Taunus Cat. 63, p. 134 Stadtmuseum Hofheim am Taunus by the artist, 1932 Inv. no. 469/88 Inv. no. 631/96 Inv. no. 2262 Rök 1999, cat. rais. no. 834 Self-Portrait with Brushes / Rök 1999, cat. rais. no. 1332 Rök 1999, cat. rais. no. 1554 Cat. 69, p. 140 Selbstbildnis mit Pinseln, 1917 Cat. 68, p. 138–39 Zurich only Tempera on canvas, 48 × 39 cm Cat. 77, p. 148 Self-Portrait with Motorists’ Cap / Kunsthaus Zürich, Vereinigung Self-Portrait with Folded Arms / Selbstbildnis mit Autofahrermütze, Zürcher Kunstfreunde, 1917 Selbstbildnis mit verschränkten The Hypochondriac or 1927 Inv. no. 1144 Armen, 1926 Convalescence / Eingebildete Kranke Black chalk, heightened in white, Rök 1999, cat. rais. no. 1083 Tempera on canvas, 55.1 × 46 cm or Genesung, 1932 on paper, 47.5 × 37 cm Cat. 20, p. 62 Städel Museum, Frankfurt am Main Oil on canvas, 66 × 54 cm Städel Museum, Frankfurt am Main Inv. no. SG 459 Property of the Swiss Confederation, Inv. no. 17757 Mount Niesen on Lake Thun / Rök 1999, cat. rais. no. 1333 Federal Office of Culture, Berne Rök 1999, cat. rais. no. 1389 Berg Niesen am Thunersee, ca. 1917 Cat. 21, p. 63 Inv. no. fK2092 Cat. 24, p. 66 Tempera on canvas, 90 × 71 cm Rök 1999, cat. rais. no. 1555 Private collection E. H. Winterhalter, M.D. / Cat. 70, p. 141 Self-Portrait / Selbstbildnis, ca. 1934 Rök 1999, cat. rais. no. 1110 Dr. med. E. H. Winterhalter, 1927 Chalk and charcoal on paper, Cat. 55, p. 116 Tempera on canvas, 77.5 × 55.5 cm Colorful Bouquet / 43.4 × 34.4 cm Property of the Dr. Senckenbergische Bunter Blumenstrauss, 1934 Kunsthaus Zürich, Collection of Old Woman or Old Peasant Woman / Stiftung, Frankfurt am Main Oil on canvas, 66 × 46.5 cm Prints and Drawings, donated by Alte Frau or Alte Bäuerin, 1918 Inv. no. 141 Private collection Dr. R. H. Hirschi, 1943 Tempera on canvas, 76.5 × 54.5 cm Rök 1999, cat. rais. no. 1385 Rök 1999, cat. rais. no. 1635 Inv. no. Z.1943/0018 Stadtmuseum Hofheim am Taunus Cat. 1, p. 17 Cat. 83, p. 153 Rök 1999, cat. rais. no. 1644 Inv. no. 205/85 Cat. 25, p. 67 Rök 1999, cat. rais. no. 1117 Portrait of Alexej von Jawlensky / Self-Portrait with Cigarillo / Cat. 65, p. 135 Bildnis Alexej von Jawlensky, 1929 Selbstbildnis mit Zigarillo, 1936 Oil on canvas, 64 × 48.7 cm Oil on canvas, 46 × 33 cm Irene Holz, née Edle von Hofmann / Städel Museum, Frankfurt am Main Private collection Irene Holz, geb. Edle von Hofmann, Inv. no. 2038 Rök 1999, cat. rais. no. 1723 1919 Rök 1999, cat. rais. no. 1427 Cat. 26, p. 68 Tempera on canvas, 70 × 48 cm Cat. 75, p. 146 Private collection, Zurich Self-Portrait with Keys / Selbstbildnis Rök 1999, cat. rais. no. 1162 Quinces / Quitten, 1929 mit Schlüsseln, 1936 Cat. 57, p. 124 Tempera on canvas, 38.3 × 46.3 cm Oil on canvas, 105.3 × 74.6 cm Kunstmuseum Bern, gift of the artist Städel Museum, Frankfurt am Main Clärchen Pfeifferor Green Necklace / Inv. no. G 1588 Inv. no. 2035 Clärchen Pfeifferor Grüne Kette, Rök 1999, cat. rais. no. 1428 Rök 1999, cat. rais. no. 1724 1920 Cat. 81, p. 151 Cat. 27, p. 69 Oil on canvas, 64 × 49.5 cm Stadtmuseum Hofheim am Taunus The Climber (Hermann Jughenn) / Inv. no. 72/84 Der Kletterer (Hermann Jughenn), Works on Paper Rök 1999, cat. rais. no. 1176 1930 Zurich only Tempera on canvas, 64 × 44.5 cm Jeanne Smith in Breton Costume / Cat. 67, p. 137 Stadtmuseum Hofheim am Taunus Jeanne Smith als Bretonin, 1896 Inv. no. 206/85 Red chalk, heightened in white, Hanna Bekker vom Rath in Profile / Rök 1999, cat. rais. no. 1476 on paper, 37 × 29–29.8 cm Hanna Bekker vom Rath im Profil, Cat. 78, p. 149 Kunsthaus Zürich, Collection of 1923 Prints and Drawings, donated by Oil and tempera on cardboard, Still Life with Painting Utensils / Mr. and Mrs. Dürler-Tobler, 1940 51.5 × 40 cm Stillleben mit Malutensilien, 1930 Inv. no. Z.1940/0232 Stadtmuseum Hofheim am Taunus Oil and tempera on canvas, Rök 1999, cat. rais. no. 287 Rök 1999, cat. rais. no. 1255 50 × 33.5 cm Cat. 37, p. 94 Cat. 54, p. 113 Kunsthaus Zürich, 2019 Inv. no. ZKG.2019/0037 Aunt Daisy (Marguerite de Meta Quarck-Hammerschlag, 1926 Rök 1999, cat. rais. no. 1479 Neufville) / Tante Daisy Oil on canvas, 55 × 46 cm Cat. 82, p. 152 (Marguerite de Neufville), Historisches Museum Frankfurt 1902 Inv. no. B1398 Still Life with Christmas Roses, Red chalk on paper, 17.1 × 15.7 cm Rök 1999, cat. rais. no. 1331 Pitcher, and Vases / Stillleben mit Dieter Rothhahn Collection, Cat. 76, p. 147 Christrosen, Kanne und Vasen, 1930 Frankfurt am Main Oil on canvas, 46 × 38.5 cm Not in Rök 1999 Private collection Cat. 29, p. 77 Rök 1999, cat. rais. no. 1481 Cat. 80, p. 151

203 Photo Credits

© akg-images: p. 189, fig. bottom © Städel Museum, Frankfurt am Cover: pp. 154–55: row left Main – U. Edelmann: cat. 51; p. 79, Ottilie W. Roederstein The foyer in the Roederstein- © bpk | Bayerische Staatsgemälde- fig. 7; p. 120, fig. 8 Self-Portrait with Hat (detail), 1904 Winterhalter home, ill. in: sammlung: p. 121, fig. 9 © Horst Ziegenfusz: cats. 4, 6–8, Oil on canvas, 55.3 × 46.1 cm Wohnungskunst, © bpk | Museum der bildenden 10, 16, 18, 29–33, 36, 38, 47, 50, Städel Museum, Frankfurt am Main year 1, 1909/10, first October issue, Künste, Leipzig / Michael Ehritt: 53, 54, 56, 58, 59, 62, 63, 65–69, 1909, p. 258 p. 82, fig. 10 73, 74, 78, 80, 83; pp. 20–21; Back cover: © bpk | Nationalgalerie, SMB / pp. 110–11; p. 125, fig. 13; p. 163, Ottilie W. Roederstein pp. 166–67: Andres Kilger: p. 22, fig. 1 fig. bottom row left Self-Portrait with Folded Arms Roederstein exhibition at Kunst- © Germanisches Nationalmuseum, Baugeschichtliches Archiv Zürich: (detail), 1926 handlung J. P. Schneider on photo: Dirk Messberger: p. 51, fig. 1 p. 181, fig. bottom row left Tempera on canvas, 55.1 × 46 cm Rossmarkt, Frankfurt am Main, © Historisches Museum Frankfurt, Federal Office of Culture, Berne: Städel Museum, Frankfurt am Main November 1897 photo: Horst Ziegenfusz: cats. 71, cats. 35, 70 Photograph 76; p. 182, fig. bottom right. Fondation des Artistes, Paris: p. 1: Roederstein-Jughenn Archive in the © Koller Auktionen: cat. 57 cats. 2, 9 Ottilie W. Roederstein Städel Museum, Frankfurt am Main © Musées d’art et d’histoire, Photo Studio Bartsch, Karen Self-Portrait with Brushes (detail), Ville de Genève, photo: Bettina Bartsch, Berlin / Grisebach GmbH: 1917 pp. 174–75: Jacot-Descombes: p. 54, fig. 4 cat. 46 Tempera on canvas, 48 × 39 cm Ottilie W. Roederstein, palette in © Musées d’art et d’histoire, Frankfurter Kunstschätze. Eine Kunsthaus Zürich, Vereinigung hand, sitting on veranda of the Ville de Genève, photo: Yves Siza: Auswahl der schönsten und wert- Zürcher Kunstfreunde, 1917 “Schneggli” studio building; in the p. 28, fig. 6 vollsten Gemälde des 19. Jahrhun- background: Helene Roederstein, © RMN-Grand Palais (Musée derts aus Frankfurter Privatbesitz, p. 2: ca. 1887 d’Orsay) / Hervé Lewandowski: exh. cat. Frankfurter Kunstverein, Ottilie W. Roederstein with bicycle, Photograph p. 24, fig. 3; p. 28, fig. 7 Frankfurt am Main, 1913, call 1890s Roederstein-Jughenn Archive in the © RMN-Grand Palais / René-Gabriel no. 26: p. 164, fig. upper row middle Photograph Städel Museum, Frankfurt am Main Ojéda: p. 25, fig. 4 gta Archiv/ETH Zürich: p. 184, Roederstein-Jughenn Archive in the © RMN-Grand Palais / fig. bottom row right Städel Museum, Frankfurt am Main pp. 192–93: Thierry Ollivier: p. 30, fig. 10 Harvard Art Museum / photo: Ottilie W. Roederstein and Jeanne © RMN-Grand Palais / Mathieu © President and Fellows of pp. 4–5: Smith on camels with local guides, Rabeau: p. 163, fig. upper row Harvard College: p. 56, fig. 8 Triple portrait of Ottilie W. Tunisia and Algeria trip, November/ middle Institut für Stadtgeschichte Roederstein, 1930s December 1913 © RMN-Grand Palais / Franck Raux: Frankfurt am Main: p. 180, Photomontage Photograph p. 29, fig. 8 figs. bottom row Roederstein-Jughenn Archive in the Roederstein-Jughenn Archive in the © Roederstein-Jughenn Archive Kunst und Dekoration, no. 21, 1907, Städel Museum, Frankfurt am Main Städel Museum, Frankfurt am Main in the Städel Museum, Frankfurt p. 9: p. 170, fig. 2 am Main, Frankfurt am Main: p. 2; Kunsthandlung J. P. Schneider: pp. 10–11: p. 205: pp. 4–5; pp.10–11; p. 12, fig. 1; p. 13, cat. 34 Ottilie W. Roederstein, ca. 1889 Ottilie W. Roederstein figs. 2 and 3; p. 14, fig. 4; p. 15, Kunsthaus Zürich: cats. 3, 5, 14, 15, Photograph Miss Mosher or End of Summer fig. 5; p. 16, fig. 6; p. 27, fig. 5; p. 30, 20, 25, 37, 39, 40, 52, 55, 60, 61, Roederstein-Jughenn Archive in the (detail), ca. 1887 fig. 9; p. 31, fig. 11; p. 32, fig. 12; 64, 72, 77, 79, 82, 84–87, 89–96, Städel Museum, Frankfurt am Main Oil on canvas, 201 × 80 cm p. 52, fig. 2; p. 54, fig. 5; p. 55, fig. 6; 98; p. 1; p. 53, fig. 3; p. 164, fig. Private collection p. 56, fig. 7; p. 57, fig. 9; pp. 70–71; bottom row right; p. 165, figs. up- pp. 20–21: p. 72, fig. 1; p. 76, figs. 3 and 4; per row left and bottom row right Ottilie W. Roederstein p. 208: p. 78, fig. 5; p. 114, fig. 1; p. 115, Kunstmuseum Basel: cat. 17; Gertrude Angela Kingston, née Ottilie W. Roederstein fig. 3; p. 117, fig. 6; p. 122, fig. 10; pp. 48–49 Konstam (detail), 1884 Portrait of a Painter in a Parisian p. 123, fig. 12; pp. 166–67; p. 169, Kunstmuseum Bern: cat. 81; p. 117, Oil on canvas, 55.5 × 46 cm Studio (detail), 1887 fig. 1; p. 170, fig. 3; p. 171, fig. 4; fig. 5 Stadtmuseum Hofheim am Taunus Oil on canvas, 86.1 × 49.5 cm pp. 174–75; p. 176; p. 177, figs. up- Montreal Museum of Fine Arts / Städel Museum, Frankfurt am Main per row right and middle and all photo: MBAM, Christine Guest: pp. 48–49: bottom row; p. 178, figs. upper p. 114, fig. 4 Ottilie W. Roederstein row left and bottom row left and Museum Giersch der Goethe-Uni- Self-Portrait with Red Cap (detail), middle p. 179; p. 180, figs. upper versität / Uwe Dettmar, Frankfurt 1894 row; p. 181, figs. upper row left am Main: cats. 1, 19, 26, 28, 42, 44; Tempera on wood, 36 × 24 cm and middle; p. 182, figs. upper p. 81, fig. 9; p. 122, fig. 11 Kunstmuseum Basel, gift of an row left and right; p. 183, all figs. Private collection, Frankfurt am admirer of art in Zurich in 1936 except upper row middle; p. 184, Main, p. 23, fig. 2 all figs. except bottom row right; David Ragusa: cat. 23 pp. 70–71: pp. 185–88; p. 189, figs. upper row Stadtarchiv Hofheim am Taunus: Ottilie W. Roederstein in her studio and bottom row right; p. 190; p. 177, fig. bottom row left; p. 181, at the Städelsches Kunstinstitut, pp. 192–93 fig. bottom row right; p. 183, fig. ca. 1897 © Städel Museum, Frankfurt am upper row middle Photograph Main: front and back cover, Von der Heydt-Museum Wuppertal / Roederstein-Jughenn Archive in the cats. 11–13, 21, 22, 24, 27, 43, photo: Antje Zeis-Loi, Medienzent- Städel Museum, Frankfurt am Main 45, 48, 49, 75, 88, 97; p. 75, fig. 2; rum Wuppertal: cat. 41 p. 79, fig. 6; p. 80, fig. 8; p. 84, Wohnungskunst, year 1, 1909/10, pp. 110–11: fig. 11; p. 114, fig. 2; p. 118, fig. 7; first October issue, p. 258: pp. 154– Ottilie W. Roederstein p. 181, fig. upper row right; p. 205; 55; p. 157, fig. 2 Still Life with Christmas Roses, p. 208 Wohnungskunst, year 1, 1909/10, first Pitcher, and Vases (detail), 1930 October issue, p. 259: p. 156, fig. 1 Oil on canvas, 46 × 38.5 cm Private collection

204 205 Colophon

This book is published in con Printing and binding STÄDEL MUSEUM Engagement (sponsoring) junction with the exhibition Printer Trento S.r.L. Julia Lange; Jasmin Guette Director Ottilie W. Roederstein Typeface Philipp Demandt Engagement (fundraising) Kunsthaus Zürich Freight Stefanie Jerger; Letizia Franco, December 18, 2020–April 5, 2021 Assistants of the director Corinna Fröhling Paper Jutta Pfister, Johanna Schick Self. Determined. PlanoArt 130 g/m² Administration The Painter Ottilie W. Roederstein Curators Heinz-Jürgen Bokler, Iris Sauer; Städel Museum, Frankfurt am Main © 2020 Zürcher Kunstgesellschaft/ Alexander Eiling and Laura Eversmeier, Adelheid Felsing, May 19–September 5, 2021 Kunsthaus Zürich; Städel Museum, Eva-Maria Höllerer in partnership Elisabeth Graczyk, Jutta Okos, Frankfurt am Main, and Hatje Cantz with Iris Schmeisser Anja Pontoriero, Vanessa Schäfer, A joint exhibition project organized Verlag, Berlin; Susann Schürer, Weronika Szarafin, by the Städel Museum, Frankfurt am © of texts: the authors, and Modern art Sophie Voss Main, and the Kunsthaus Zürich their legal successors Alexander Eiling; Juliane Betz, Ira Haller, Alina Happ, Eva-Maria IT department © 2020 for the reproduced works Höllerer, Kristina Lemke, Sebastian Heine; Tihomir Kukic, PUBLICATION by Max Beckmann, Charles Camoin, Fabienne Ruppen Benjamin Schiller Raoul Dufy, Rodolphe Fornerod, Editors Jean Puy and Maurice de Vlaminck Exhibition organization Events Alexander Eiling, at VG Bild-Kunst, Bonn; by Marie Katja Hilbig-Bergmann, Kerstin Schultheis; Jan Filip Kleiner, Eva-Maria Höllerer and Laurencin at Fondation Foujita / VG Sven Lubinus; Dominik Auvermann, Hannah Krämer, Chiara Lucchese Sandra Gianfreda Bild-Kunst, Bonn; by Cuno Amiet at Beatrice Drengwitz, D. Thalmann, Aarau, Switzerland; Barbara Noeske-Winter, Museum shop Editing and by the artists and their legal Albrecht Wild Anke Gordon, Ruth Endter; Philipp Martina Ciardelli, successors Fiehl, Magdalena Kaluza, Sabine Alexander Eiling, Conservation Kreutzer, Tanja Neumann, Anette Sandra Gianfreda, Published by Works on paper: Ruth Schmutzler; Riede Alina Happ, Hatje Cantz Verlag GmbH Brigitte Halder-Kaplan (freelance) Eva-Maria Höllerer Mommsenstrasse 27 Paintings: Stephan Knobloch; Eva Museum café 10629 Berlin Bader, Lilly Becker, Mareike Gerken Hammam Alshami, Sarah Seefelder; Catalogue management Germany Maria del Pilar Espinosa Suarez Martina Ciardelli www.hatjecantz.com Technical department/ A Ganske Publishing installation crew Supervisory service/ Coordination Group company Thomas Pietrzak, Nils Jahnke; cashier desk Eva Mongi-Vollmer, Michael Götz, Thorsten Knapp, Jolanta Radtke, Catrin Röttinger- Franziska Lentzsch Retail edition Thomas König, Ralf Lappe, Zengel, Ruzica Skrijelj ISBN 978-3-7757-4795-0 (English) Ted Obermann Graphics/corporate design ISBN 978-3-7757-4794-3 (German) Library Martin Kauffmann External partners/ Elena Ganzlin; Michael Mohr Museum edition international relations Translations (Städel Museum) Johanna Schick, Freya Schlingmann Provenance research/archives Judith Rosenthal (German–English) ISBN 978-3-947879-05-2 (English) Iris Schmeisser ISBN 978-3-947879-04-5 (German) Education department Copy editing Chantal Eschenfelder, Lance Anderson Printed in Italy Anne Sulzbach; Janine Burnicki, Anne Dribbisch, Anna Huber, Graphic design and typesetting Antje Lindner, Natalie Marie Meyer Fine German Design Carsten Wolff, Dula Vukota Marketing Bernadette Mildenberger, Pre-press and reproduction Annabell Hurle; Diana Hillesheim, Fine German Design Rebekka Zajonc

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Ottilie W. Roederstein (1859–1937) was one of the most important women painters of her generation in the German-speaking world. Utterly self-determined, she stood her ground in the male-dominated art world and defied the social conven tions of her time. Over many decades, Ottilie W. Roederstein created a richly multifaceted œuvre that mirrors many of the stylistic trends of Modernism.

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