Max Liebermann (1847 – 1935) – Orphan Girls in Amsterdam Alte und Neue Nationalgalerie (Berlin)

The composition presents a scene unfolding within a courtyard setting, likely associated with an institutional building. A large, verdant tree dominates the left side of the frame, its foliage obscuring much of the structure behind it and contributing to a sense of enclosure. The architecture itself appears formal, characterized by symmetrical lines and classical detailing around a central doorway.
In the foreground, a group of women are seated on a low wall or ledge. Their attire suggests a degree of social standing; they wear elaborate white lace collars and caps, paired with dark dresses and red accents. One woman, presumably in a position of authority or caregiving, appears to be engaged with several young girls clustered around her. The girls’ clothing is simpler, indicating their subordinate status within the depicted environment.
The artist has employed a muted palette, primarily consisting of earthy tones – browns, greens, and ochres – which lends the scene a somber and somewhat melancholic atmosphere. Light falls unevenly across the courtyard, creating areas of shadow that further contribute to this mood. The ground is rendered with loose brushstrokes, suggesting a sense of neglect or disrepair.
Several figures are visible in the distance, seemingly engaged in some form of activity near the building’s entrance. Their presence adds depth to the composition and hints at a larger community beyond the immediate group depicted. A lantern hangs from the wall, providing a source of illumination that contrasts with the overall dimness of the scene.
Subtleties within the painting suggest themes of charity, social hierarchy, and institutional care. The interaction between the women and the girls implies a system of guardianship or education, while the setting itself – a formal courtyard attached to an imposing building – underscores the power dynamics at play. The overall impression is one of quiet dignity tinged with sadness; it evokes a sense of lives lived within structured boundaries, hinting at both responsibility and constraint.