Blue is a prominent name color in art. It is the identifying color of the famous "Blue Rider". And later another group of artists named themselves after it: "The Blue Four". This also includes three important painters from the "Blue Rider" circle: Alexej von Jawlensky, Wassily Kandinsky and Paul Klee. These three, together with Lyonel Feininger and Emilie Esther Scheyer, founded "The Blue Four" on March 31, 1924 in Weimar. At this time, the painter Emilie Esther Scheyer had known Alexej von Jawlensky's work for a long time. She arranged exhibitions for him and traded in his works. Scheyer had long been a close confidante of his. Because of her black hair, Jawlensky called her "Galka" - "jackdaw" in his native Russian. For the "jackdaw", the founding of the "Blue Four" meant an official assignment: She was to represent the four artists in the USA as an agent. Because that is where she emigrated shortly afterwards. With great passion, the “Jackdaw” built up a network in America. And soon “The Blue Four” were able to exhibit in New York, San Francisco and Los Angeles. This was also the case with Lyonel Feininger. His painting “Promenade” shown here, like other paintings by him, was inspired by a stay in Paris. He rented a studio there for two years at Boulevard Raspail 242. Feininger was fascinated – by the bohemians as well as the upper middle class. This resulted in a series of figurative depictions. The motifs were broken down into crystalline forms in the cubist style. Feininger himself calls this “prismaism”. The “Promenade” is an example of this alienating effect. In addition, the “Promenade” develops an enigmatic pull: the figures seem to be in a great hurry. In the left part of the picture, the people almost collide. And yet the figures hardly notice each other. Are they running somewhere with concentration? Or are they rushing away from somewhere? The 1913 painting may involuntarily be a "window view" into Feininger's own future: 25 years after Lyonel Feininger painted the scene, he came under pressure in Germany. His previously celebrated work was considered "degenerate art" during the Nazi era. In 1937, Lyonel Feininger returned to the USA, to his hometown of New York, with his Jewish wife Julia. He left the "Promenade" with a friend from the Bauhaus era along with 63 other works. Feininger's family later received the paintings back and kept them in their new home in America.