Fantastic scenes, which, however, again and again remind of such from myth, fairy tale, Bible or history, but probably not clearly determinable, increase in these years in the work of Emil Nolde. Sometimes he also alienated concretely identifiable scenes or mixed them to completely new meaning. Nolde always had an apartment in Berlin, and in 1929 he even wanted to build his own house there (with Mies van der Rohe). However, he never became artistically at home there, always remained attached to the myths, legends and fairy tales of his youth, to the country life and light, clouds, air and landscape of Schleswig. In fact, except for a few depictions of people, there are no Berlin subjects in the work. The only excursion Nolde made into the reality of the present was to work in the port of Hamburg in 1910, preferring dreaming.