In 1909, the year the "New Artists' Association Munich" was founded, the painter Alexander Kanoldt presented his "models" at the association's first exhibition from December 1st to 15th in the Thannhauser Gallery in Munich. The painting shows the typical flat painting style with bright colored areas framed by dark outlines and the omission of details, which had already been used in 1908, especially by Alexej Jawlensky and Gabriele Münter. The two women depicted appear to be recovering from the strenuous modeling on a red chaise longue. The one on the left is lying comfortably on the red seat with her upper body bare and her head propped up. Is the bare upper body a sign of her negligence or does she think it is unnecessary to get dressed again between modeling sessions? Photographs from this period of modeling sessions at the art academy or at painting schools often show several models between the students' easels. The other model sits upright and holds a light green object in her hands, somewhat uncertainly, which picks up the color of the neighboring skirt. She has a red hat on her head and is wearing a high-necked dress, the dark colors of which stand out clearly against the bright orange-red background. The color of the hat, scarf and the seat visible on the left correlates with the deep red stocking of the reclining woman, which flashes out from under the green skirt, while the color of the shoes hardly stands out against the dark floor. Alexander Kanoldt creates an attractive contrast between the clothed and unclothed model, which he also implements in color: the almost entirely black clothing of one contrasts with the light skin tone and the green-gray skirt of the other. Both are framed by the red-orange background of the chaise longue and the wall. The painter, who was a professor at the State Academy of Arts and Crafts in Breslau in the 1920s, lived in Garmisch between 1931 and 1933, where he ran a private painting school. In 1933 he was appointed to the Academy of Arts in Berlin, but his works were confiscated as "degenerate" in 1937. His later painting style was characterized by a magical-realistic variant in the style of "New Objectivity".