In 1936, Hannah Höch moved in with her new partner, the much younger pianist and traveling salesman Kurt Heinz Matthies. Months of traveling together by car and in a caravan followed: three restless years, as if in flight, and at the same time a time of the highest creativity and productive power for the artist. She worked feverishly, creating countless drawings and watercolors and some of her most important paintings. Humans disappeared from her work, nature and landscape, flowers and plants conquered the canvas.

The very first of these journeys through southwest and southern Germany lasted seven months. Wild flowers played a major role in this spring and summer of 1937, again and again she listed the names in her diary, made sketches and embarked on an oil painting. She called it Aus dem blühenden Tal (From the blooming valley). As if under a magnifying glass, she gathered on it a green sea of wild flowers in a chromatic concert of white, yellow, blue and purple luminous blossoms. Each of them is precisely depicted in its individuality, and yet they form a harmonious whole. As if the artist wanted to record and to preserve something of the growth and blooming of nature in dark times. “I want to praise the manifoldness of life with my work,” she noted at the end of 1937. Thus, the “blossoming valley” becomes both a bequest and an exhortation at the same time.