[3] She received her artistic training at the Prussian Academy of Arts (Preußische Akademie der Künste), which she entered only shortly after female students were allowed.

Laserstein depicted contemporary women of many fashions, including New Woman types, who adopted a more masculine look, and female nudes.

Her most famous paintings, including Die Tennisspielerin (The Tennis Player, 1929), contributed to the verism of New Objectivity movement but also showed continuity with German Naturalism.

[1] The elegiac scene references Leonardo da Vinci's Last Supper and Jan Vermeer von Delft's Milkmaid in order to convey the temporality and political stalemate of 1930.

[5] In 2023, The Museum of Fine Arts Boston purchased a self-portrait of Lotte Laserstein simply titled "Self Portrait".

[11] Laserstein was rediscovered in Germany in 1987, when Thomas Agnew & Sons and the Belgrave Gallery organized a joint exhibition and sale of works from her personal collection, including Abend über Potsdam, which is now in the Neue Nationalgalerie, Berlin.

[15] In-depth research was carried out by Anna-Carola Krausse which was synthesized in the exhibition catalogue, Lotte Laserstein: My Only Reality.

In addition to photographs of her work, the material includes sketchbooks, private and professional correspondence, documents on her participation in exhibitions, and books from Laserstein's library.