The motif of the Wannsee garden became as significant for Liebermann as the apple still lifes were for Cezanne and the water lily pond at Giverny for Monet. It becomes a laboratory for the search for definitive truths of painting on reality. At the same time, the Wannsee pictures provide a deep insight into Liebermann’s soul, who once said: “You can’t paint a blade of grass if you don’t love it.”