Lyonel Feininger’s oeuvre is characterized by a broad stylistic repertoire that is considered seminal for the development of Modernism. It is striking, however, that his imagery always revolves around a few select motif groups that Feininger uses to explore a range of artistic and stylistic expressions. In addition to architecture, maritime motifs exert a particularly strong fascination on the artist. This is a passion he shares not only with his son, T. Lux Feininger, but one that also had lasting influence on his artistic work across decades and through various creative phases.

While growing up in the United States, Feininger would watch boats passing by on the Hudson River in New York. One of these ships was the “Mary Powell,” depicted here, also known as the “Queen of the Hudson” due to its impressive engine power. For Lyonel Feininger, his years in New York marked the beginning of a lifelong fascination with seafaring. This fascination would remain with him throughout his time in Germany and his stays on the Baltic Sea. The theme also found its way into his paintings, watercolors, drawings, and woodcuts at the Bauhaus, and even after his return to the U.S. in 1937, maritime motifs remained a constant. He dedicated the present work, from 1940, to his son, T. Lux Feininger, on the occasion of his 30th birthday. Years later, T. Lux Feininger vividly recalled the creation of the painting, which has remained in the possession of the Lyonel Feininger family to this day:

"One of the first paintings completed toward the end of the period of rebellion against what could not be changed was ‘Queen of the Hudson’. [...] It is a nostalgic work, for as a young man, Lyonel Feininger had known and admired the Hudson River Dayline steamer of that name. The ‘Mary Powell’ was a record-breaker and held the Blue Ribbon for many years until it was scrapped in 1922. The double rainbow suggests Hero Worship, a palpable archaic trait that is also present in the rigorously non-perspective side view. Without exception, Hudson River boats have had—and still have today—their names painted in large, black letters on the white sidewall. No name is visible in our picture. One should not believe that this is a coincidence. The omission of identity signifies a symbolic, archetypal function. ‘I live in New York, but Old New York lives in me,’ my father wrote to me toward the end of his life.” (T. Lux Feininger in a letter to Wolfgang Büche, February 15, 2008, cited in: Wolfgang Büche (ed.), Lyonel Feininger. Back in America. 1937–1956, Munich 2009, p. 68).