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Student Artwork Guide

Jerusalem X

Hermann Struck, 1916

Name Class Date
Hermann Struck, Jerusalem X (1916), Leo Baeck Institute. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Hermann Struck wahooart.com/en/artists/hermann-struck/
Artist’s dates
1876 – 1944
Painted
1916
Medium
Painting
Original size
38 x 29 cm
Movement
Expressionism Colour and shape deliberately distorted so the picture shows an emotion rather than a likeness.
Period
Modern
Held at
Leo Baeck Institute wahooart.com/en/museums/leo-baeck-institute-new-york-city/
Artistic style
Detailed, vibrant landscape
Notable elements
Clock, buildings, mountains, people
Subject or theme
Jerusalem cityscape and architecture

Copyright This work is in the public domain. Hermann Struck died in 1944; copyright lasts 70 years after the artist’s death, so it ended in 2014.

Source: WahooArt.com — accessed Sept. 26, 2026

Jerusalem X — Hermann Struck Part 1 · The artwork

In context

Jerusalem X — Hermann Struck

How big is it?

The original measures 38 × 29 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1870
  2. 1880
  3. 1890
  4. 1900
  5. 1910
  6. 1920
  7. 1930
  8. 1940

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 68 at death.

Painted when the artist was 40. The artist lived to 68. 20 of the 29 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Hermann Struck (1876–1944) ▲ this work, 1916 every dated painting, decade by decade

First works: up to 1900 Main working years: 1900–1919 Late works: from 1919

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wahooart.com/en/art/similar/hermann-struck-jerusalem-x-D7RQKB-en/

Colours

Measured from the image

    Main colour

    Gray #88958b

    Catalogued palette

    • #88958B
    • #EBEAE3
    • #D4BD95
    • #656E5E

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Gray
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Hermann Struck over the last twelve months — 4 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 71.4%
    2. 2 United Kingdom 14.3%
    3. 3 Hong Kong 7.1%
    4. 4 Singapore 7.1%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 12 most looked-at works by Hermann Struck

    1. 1 Cactus, 1900 12.5%
    2. 2 Fuerstenhaus-Karlshorst, 1900 12.5%
    3. 3 Portrait of Rabbi Samson Raphael Hirsch (1808-1888), 1900 12.5%
    4. 4 Jerusalem, Mosque of Omar, 1900 12.5%
    5. 5 Jewish Chimney Sweep, 1915 12.5%
    6. 6 Jerusalem, Chapel of the Ascension, 1905 6.2%
    7. 7 Jerthe United States, 1926 6.2%
    8. 8 Central Park, New York, 1913 6.2%
    9. 9 Tomb of Giovanni Segantini (1858-1899), 1907 6.2%
    10. 10 Haifa V, 1900 6.2%
    11. 11 Nablus (Palestine), 1900 6.2%
    12. — Jerusalem X, 1916 this painting 0.0%

    Together these works take 99.7% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 30 works by this artist, of which 11 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Source: WahooArt.com — accessed Sept. 26, 2026

    Jerusalem X — Hermann Struck Part 2 · In context

    About this artwork

    Jerusalem X — Hermann Struck

    A Window into the Holy City: The Soul of Jerusalem X

    In the quiet mastery of Hermann Struck’s Jerusalem X, we are invited to step through a portal into a world where time seems to suspend itself amidst the ancient stones of a legendary landscape. Painted in 1916, this evocative work transcends mere topography, offering instead a profound meditation on the intersection of human life and eternal architecture. The scene unfolds with a vibrant vitality, capturing the bustling yet sacred atmosphere of Jerusalem through a delicate balance of light and shadow. As the eye wanders across the cityscape, one encounters the rhythmic dance of buildings, the soft silhouettes of distant mountains, and the subtle presence of figures that breathe life into the stone, creating a composition that feels both deeply personal and universally significant.

    Struck, a master of the etching needle and a pivotal figure in German-Jewish art history, brings a unique sensitivity to this canvas. While he was celebrated for his technical precision in lithography and portraiture—capturing the likenesses of giants like Albert Einstein and Sigmund Freud—his approach to landscape in Jerusalem X reveals a painterly warmth that is truly captivating. The technique employs a rich, luminous palette that breathes life into the urban sprawl; the colors are not merely descriptive but emotional, casting a glow that suggests the golden hour of a Mediterranean afternoon. This mastery of light allows the viewer to feel the heat radiating from the walls and the cool respite offered by the scattered greenery, making the painting an immersive sensory experience.

    The Intersection of History and Spirit

    To behold this piece is to engage with a complex historical tapestry. Created during the tumultuous era of the First World War, the painting offers a serene counterpoint to the global upheaval of 1916. There is a poignant symbolism embedded in the very structure of the city; the clock visible on one of the buildings serves as a silent memento mori, a reminder of the fleeting nature of human moments against the backdrop of an ancient, enduring civilization. For the collector or the interior designer, this work offers more than just aesthetic beauty; it provides a narrative anchor. It is a piece that speaks of heritage, resilience, and the timeless allure of the Levant.

    Integrating such a masterpiece into a curated space requires an appreciation for its emotional depth. Whether placed in a sun-drenched study or a sophisticated gallery setting, Jerusalem X acts as a focal point of contemplation. Its ability to evoke nostalgia and wonder makes it an ideal selection for those seeking to infuse their surroundings with a sense of worldly wisdom and historical gravity. As a high-quality reproduction, this work allows the splendor of Struck’s vision to reside within the modern home, offering a permanent connection to the spirit of one of the world's most storied cities.

    Source: WahooArt.com — accessed Sept. 26, 2026

    Jerusalem X — Hermann Struck Part 3 · About this artwork

    Artist and museum

    Artist

    Hermann Struck

    Born in Berlin, Germany

    early life and education

    hermann struck, a renowned german-jewish artist, was born on march 6, 1876, in berlin, germany. he studied at the berlin academy of fine arts, where he honed his skills in painting and etching.

    artistic career

    struck's artistic career was marked by his exceptional talent in lithographs and etchings, which often featured jewish subjects and landscapes. his work was widely recognized, and he became a respected figure in the art world. notably, struck published "die kunst des radierens" ("the art of etching") in 1908, a seminal work that offered both theory and practical instruction.

    notable works and associations

    some of struck's notable works include:

    portraits of ibsen, nietzsche, freud, albert einstein, herzl, oscar wilde, showcasing his ability to capture the essence of prominent figures.

    landscape etchings from his travels, which demonstrated his skill in capturing scenic beauty.

    commissioned portraits, including those of theodor herzl, which became an iconic representation of zionism.

    zionist activism and military service

    struck was a fervent zionist and jewish activist. he visited the land of israel in 1903 and displayed his art at the fifth zionist congress. during world war i, he served as a translator, liaison officer, and military artist.

    legacy and later life

    struck's legacy is preserved through his numerous etchings and paintings, which can be found in various museums, including the kaiser-wilhelm-museum (krefeld, germany). he passed away on january 11, 1944, in haifa, israel.

    view struck's art at AllPaintingsStore

    explore hermann struck's artwork on AllPaintingsStore, featuring a collection of his etchings and paintings. for more information on struck's life and work, visit wikipedia. discover the art of hermann struck:

    the museum wayne highlands school district (united states)

    hermann struck | AllPaintingsStore

    hermann struck - wikipedia

    Museum

    Leo Baeck Institute

    On show in New York City, United States of America

    A Sanctuary of Memory in the Heart of New York

    In the vibrant tapestry of New York City, nestled within the prestigious Center for Jewish History, lies a sanctuary that transcends the traditional boundaries of a museum. The

    Leo Baeck Institute

    serves as a profound beacon of remembrance, a place where the echoes of a vanished world are preserved with meticulous care and reverence. It is not merely a repository for artifacts but a living, breathing hub of scholarly investigation, where the shadows of the past are illuminated by the light of rigorous research and cultural engagement. The architecture of the institute reflects its solemn yet forward-looking mission, designed with a deliberate and striking simplicity that avoids unnecessary ornamentation to prioritize the intellectual exploration within its walls. This architectural restraint creates an atmosphere of focused contemplation, allowing the weight of history to resonate through every corridor and offering a bridge between eras.

    The Soul of a Culture Preserved

    To wander through the collections of the

    Leo Baeck Institute

    is to embark on an intimate journey through the soul of a culture. The holdings are nothing short of extraordinary, offering unparalleled insights into the vibrancy of German-Jewish life before the darkness of the mid-twentieth century. For the art lover and the scholar alike, the institute provides an enduring connection to a legacy of profound cultural significance. The collections feature:

    Rare Jewish Books:

    Exquisitely crafted manuscripts from centuries past that bear witness to profound religious scholarship and delicate artistic expression.

    Photographic Archives:

    Poignant images that capture the faces, families, and landscapes of communities forever changed, presenting portraits of everyday individuals whose lives were woven into the cultural fabric of Europe.

    Personal Papers:

    A collection of letters and documents that serve as a window into an era of resilience and adaptation, documenting individual narratives amidst extraordinary circumstances.

    What truly distinguishes the

    Leo Baeck Institute

    is its unwavering dedication to the nuance of identity. Unlike institutions that seek breadth, the LBI focuses deeply on the specificities of German-speaking Jewry, ensuring that the intricate details of their history are never lost to generalization. Through notable exhibitions that explore everything from the intellectual currents of the Weimar Republic to the artistic responses to wartime trauma, the institute fosters a vital dialogue between the past and the present, ensuring that the indelible mark of German-Jewish culture continues to inspire, educate, and move generations to come.

    Where to read more

    Find this online

    QR code linking to the download page for Jerusalem X

    wahooart.com/en/art/download/hermann-struck-jerusalem-x-D7RQKB-en/

    Cite this artwork

    MLA
    Struck, Hermann. Jerusalem X. 1916, Leo Baeck Institute. https://wahooart.com/en/art/hermann-struck-jerusalem-x-D7RQKB-en/
    APA
    Struck, Hermann (1916). Jerusalem X [Painting]. Leo Baeck Institute. https://wahooart.com/en/art/hermann-struck-jerusalem-x-D7RQKB-en/
    Chicago
    Hermann Struck. Jerusalem X. 1916. Leo Baeck Institute. https://wahooart.com/en/art/hermann-struck-jerusalem-x-D7RQKB-en/
    Harvard
    Struck, Hermann (1916) Jerusalem X. Leo Baeck Institute. Available at: https://wahooart.com/en/art/hermann-struck-jerusalem-x-D7RQKB-en/

    Source: WahooArt.com — accessed Sept. 26, 2026

    Jerusalem X — Hermann Struck Part 4 · Artist and museum

    Look closely

    Jerusalem X — Hermann Struck

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: jerusalem, cityscape, architecture. Do you agree? What would you add, or take away?
    4. Look back at Duomo and Baptistery, Florence, plate from Hesse (1923), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Expressionism: Colour and shape deliberately distorted so the picture shows an emotion rather than a likeness. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Source: WahooArt.com — accessed Sept. 26, 2026

    Jerusalem X — Hermann Struck Part 5 · Look closely

    Questions & Answers

    What does the 1916 date of "Jerusalem X" correspond to in Hermann Struck's career?

    "Jerusalem X", created in 1916, belongs to the Mature Period of Hermann Struck's career.

    In what year was "Jerusalem X" by Hermann Struck created?

    The creation of "Jerusalem X" by Hermann Struck is dated 1916.

    Is "Jerusalem X" free of copyright?

    "Jerusalem X" by Hermann Struck is in the public domain - its copyright has expired. This status governs how the image of the work may be reproduced.