The depiction of the city has a long tradition between artwork and documentation: city views preserve architecture while also conveying an image of how a city understands and represents itself. For Nuremberg, this tradition is especially significant – as early as 1493, the Nuremberg Chronicle by Hartmann Schedel presented the city in an impressive woodcut view, turning its skyline into an early image of urban identity.

Jochen Pankrath brings this way of seeing the city into the present. Church towers, the castle, and the densely layered rooftops form a complex urban landscape beneath a broad, open sky. Topographical recognizability is combined with a free painterly interpretation. Nuremberg appears not as a sober document, but as an organically developed structure of architecture, history, and memory.

In this way, Pankrath continues the centuries-old tradition of the cityscape and translates it into a contemporary painterly language.