Oil, 1943.

One of five Berlin street scenes Bloch painted before he left Germany in 1934. The smoke rising from the crematorium appears prominent and threatening, framed as it is by the network of wires and poles of the almost deserted square. (Bloch nicknamed…

This is the earliest of Meidner’s apocalyptic landscapes, a series of paintings he produced in his Berlin studio during the summer of 1912. These paintings of burning cities and fleeing people, coming just before the outbreak of the First World War…

This painting, originally titled The Levelling, was originally thought to predate the First World War. However it was re-titled when two woodcuts and a drawing, all dated 1918 and all closely resembling the painting were discovered in the Ludwig von…

Painted in 1941 from drawings made in the garden of a house in Campden Hill, London. The additional images show a letter about this artwork from Mrs Charlotte Bloch, the wife of the artist. Mrs Bloch give context and interesting details about the…

Red Woman was one of Marc’s last paintings containing the human figure and reflects the humanistic idea of man’s interrelationship with nature. A ‘primitive’ woman, untouched by the corrupting influence of civilisation, is harmoniously absorbed into…

This painting, depicting a sunset scene with a factory worker returning from his shift, belongs to a highly significant series of paintings Felixmüller produced in the early 1920s. The artist’s brother was a mining engineer, and Felixmüller produced…

Laserstein depicts herself completely objectively in her Berlin studio as an emancipated woman and professional artist, aware of her individuality and unconcerned by her unconventional appearance. Her half-turned figure recalls the portraits of Hans…

The image of the woman applying her make-up is a powerful one. Painted in Berlin at the height of the Weimar years, it gives an insight into the changing fortunes of young metropolitan working women who, in the mid-1920s were achieving greater…

Münter met the Danish writer, Anna Roslund, shortly after her move to Copenhagen from Sweden in 1917. In Sweden she had renewed her interest in Matisse and abandoned her earlier Bavarian primitivism. Deep in thought, the stylish, pipe-smoking writer…