It was then purchased by the German federal government for the newly founded Ostpreußisches Landesmuseum, in Lüneburg, in whose collection it remains.

The painting shows Friedrich Corinth, the artist's uncle, sitting on a wooden chair in his living room.

Charlotte Berend-Corinth also mentions the bright light blue eyes and the luxuriant dark gray hair in her catalog raisonné.

The picture is signed and inscribed in several lines on the upper right-hand edge with "Mein Ohm 78 J. a Moterau bei Tapiau Juli 1900 Lovis Corinth".

[1] The art historian Andrea Bärnreuther interprets the use of backlighting and the uncle's figure, which is thus only vaguely recognizable, as "the painting's [and artist's] restraint in respecting the dignity of the person", which "leaves the sitter with the mystery of life, which eludes definition".

She continues: "In the calm composure of someone waiting for death, the Ohm turns his face towards the viewer with his eyes wide open and his mouth slightly parted.

"[2] Bärnreuther goes on to explain that "by including the interior in the depiction", Corinth opens the view "beyond the mental and physical appearance of the ageing man into the seclusion of his limited domestic sphere, which shows the sitter on the margins of society".

[2] Sabine Fehlemann, the former director of the Von der Heydt-Museum in Wuppertal, placed the painting in the context of Corinth's artistic development.

Sometimes he pulled his lip long and turned towards the light, scraping off the stubble, sometimes he rounded one cheek so that the razor glided over it more evenly.

After church, a better meal was served with a pewter mug of brown ale, and the sermon was harshly rehearsed, with hardly a good word said about the priest.

[6] He began his artistic training in 1876 at the Royal Academy of Art in Königsberg, today Kaliningrad, and remained there until 1880, when he went to Munich on the recommendation of his teachers.

The art historian Alfred Kuhn published a pencil drawing from 1879 in his Corinth monograph of 1925, which shows the aunt, Ohm and an "Otto" in Moterau.

Among the people portrayed during this period were mainly artists and writers from Corinth's circle in Munich and Berlin, including Eduard Graf von Keyserling, Gerhart Hauptmann and Walter Leistikow.

Further exhibitions with the portrait took place in 1927 at the Sächsischer Kunstverein in Dresden and in 1929 at the Neue Secession in Munich and at the Hagenbund in Vienna.

[1] Between 1950 and 1952, the painting was part of a traveling exhibition of Corinth's works in numerous museums in the United States and Canada.

From 1958 to 1959, the Kunsthalle Basel, the Kunstverein Hannover and the Städtische Galerie München as well as the Tate Gallery in London organized commemorative exhibitions of the painting.