Only at a second glance can the still life can be recognised as such from the composition of simplified objects with black contours. The artist drew the outlines in charcoal and then filled the spaces with bright complementary colours (red/green, blue/orange, yellow/purple). Jawlensky later wrote that he was able to express that which “vibrated” inside him through colours and forms. The influence of the French artist Henri Matisse is reflected in this abstract style and its relinquishing of a spatial perspective.
When the Städelsches Kunstinstitut was founded, the Frankfurt artist Adam Elsheimer immediately became the focus of its collecting policy and research interest. Johann Friedrich Städel himself believed he owned a work by the famous Baroque fine artist. Especially after the Second World War, intensive efforts began with regard to the artist, culminating in an Elsheimer exhibition in 1966. In those days, no one could have foreseen that a small miracle would soon take place. Between 1971 and 1981 the Städel was able to reunite the seven-part Altar of the Holy Cross, familiar from archive material, by purchasing the five remaining panels scattered across the world. The Museums-Verein, which had been founded in 1899 and reorganised in 1957, played the main role in financing the purchase with its specific fundraising campaigns.