Julius Morgenroth Collection, Berlin; in family possession since, Berlin/London/USA
Max Liebermann's garden pictures from the 1920s are among his most outstanding works: “Without setting clear contours, Liebermann shaped the geometrical forms of the flower terraces frequently using a quite vivacious colour palette. The formal idiom is suggestive and brief. His later images of flower terraces retain the freshness of the sketch. In them Liebermann succeeded in capturing nature in the theme quite spontaneously, and then with all the signature features of sketches and studies declared them the definitive artistic outcome.” (Petra Wandrey, “Die Blumenterrasse,” in: Martin Faass (ed.), Die Idee vom Haus im Grünen, Max Liebermann am Wannsee, Berlin, 2010, p. 100). Alongside oil painting Liebermann relied in particular on crayon drawings to record the extremely transient moments and moods of a garden - in works that radiate in colour.
Our view of the flower terrace in the spring has the gaze wander across sections of lawns and the fresh blue, possibly of a bed of pansies, over to the banks of the Wannsee, which was depicted quite rarely by Liebermann; we can intuit it in the tender bright blue between the birches on its banks. Here, he manages in an especially atmospheric way to combine the clear compositional structure with a swift but masterful application of colour.