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Adolf Erbslöh (1881–1947) was one of the quiet yet formative figures of modern art. With his essay Phantasie und Form (Imagination and Form), he developed an early artistic theory that viewed imagination not as the opposite of order, but as its very source. The exhibition Erbslöh. Imagination & Form follows this idea, showing how Erbslöh transformed inner visions and intellectual clarity into a distinctive visual language.

As a co-founder and chairman of the ‘Neue Künstlervereinigung München’ (New Artists’ Association Munich), Erbslöh played a key role in shaping the artistic climate from which the Blue Rider emerged. He was not a dogmatist of the avant-garde, but a seeker who moved between the expressive gesture of Expressionism and the clear formal principles of Classical Modernism. In his landscapes, city views, and still lifes, imagination becomes a structuring force: colour, line, and surface are not expressions of spontaneous emotion, but tools of reflective vision—creating an art that unites inner experience with rational order.