The prominent Expressionist Emil Nolde (1867–1956) divided his life between city and countryside — between his summer residence in what is now the German–Danish border region and a studio apartment in Berlin during the winter months. In these two very different worlds, he found inspiration for his art: on the one hand in his remote homeland, and on the other in the vibrant metropolis. The Nolde couple spent the winters in Berlin, renting a studio apartment on Tauentzienstraße from 1910 and later on Bayernallee in the Westend district from 1929.

At the beginning of the 20th century, artists were magnetically drawn to one of Europe’s most important metropolises. Berlin’s nightlife, with its dance, theatre and cabaret scene, also became a significant source of inspiration for Emil Nolde. Particularly in the years 1910/11, he explored the big city in his paintings. Max Reinhardt, director of the Deutsches Theater and the Kammerspiele, provided Nolde with complimentary tickets. In the dark auditorium, assisted by Ada, Nolde created a series of well over 300 watercolours and ink drawings with quick, precise brushstrokes, focusing on the expressive potential of the figures, their movements and dances, their gestures and stage presence. In his lively watercolours and radiant oil paintings, Nolde paid tribute to the dynamic energy of the metropolis.

At the same time, life in Berlin enabled him to maintain direct contact with friends, collectors, art historians, museum directors and gallery owners. For the ambitious artist — supported by his socially adept wife Ada — the city was an important place for networking. He often referred to himself as a “painter person”, thereby emphasising the distinction between the artist and the individual, which was central to his self-conception.