In 1913, Erna felt ill and had a melancholy, irritable mood, which Kirchner depicted artistically in this portrait.

[4] The painting marks the beginning of a new artistic phase for Kirchner, since it shows for the first time the mature style of his later big-city depictions.

[5] Erna and her sister Gerda Schilling were also models for his Berlin main work Potsdamer Platz from 1914.

Hagemann was a friend of the artist who, in return for monthly financial support for Kirchner, was allowed to choose a painting from his studio on a regular basis.

Hidden in the Frankfurt Städel with the entire Hagemann collection, the work survived the Nazi era.