1882
Paris Salon of 1882: sales and recognition
“The Shoemaker's Workshop”, finished in Dongen, and “Recreation Time in the Amsterdam Orphanage”, composed in 1881–82 from earlier studies, found a buyer in Jean-Baptiste Faure. The French press hailed Liebermann as an Impressionist, and the collector Ernest Hoschedé wrote to Manet that if Manet had revealed the secrets of the open air, Liebermann had grasped light indoors.
1882–1883
A missed meeting with Van Gogh in Zweeloo
While Liebermann was working on “Bleaching on the Lawn” (1882–83), a return to naturalism, an attempt to meet Vincent van Gogh in Zweeloo came to nothing.
1884
Decides to return to Berlin
Liebermann knew that Berlin would bring fresh conflicts, but he believed the city would sooner or later take its place among the leading art centres: it held an important place on the European art market, and Munich's traditions weighed on him. The family's first home was an apartment at In den Zelten 11, on the northern edge of the Tiergarten.
after 1884
The Bernsteins' house: Manet, Degas and Berlin's circle
At the home of his neighbours Carl and Felicie Bernstein, Liebermann saw paintings by Édouard Manet and Edgar Degas that stayed with him all his life; Max Klinger, Adolph Menzel, Georg Brandes, Wilhelm Bode, Theodor Mommsen and Alfred Lichtwark were among the visitors, and for the first time he felt accepted in Berlin's artistic community. Joining the Society of Friends (Quakers) also eased his acceptance among the upper bourgeoisie.
1884
A honeymoon in Holland instead of Italy
The wedding to Martha Marckwald, to whom he had become engaged in May, took place on 14 September, right after the move from Munich to Berlin. Instead of Italy the newlyweds went to Scheveningen, where Israëls joined them; in Laren Liebermann met Anton Mauve, and Delden, Haarlem and Amsterdam followed.
1886
Back at the Academy's exhibition after eight years
Liebermann showed “Recreation Time in the Orphanage”, “Old Men's Home in Amsterdam” and “The Grace” — a painting of a Dutch peasant family at prayer, made at Israëls's suggestion during the honeymoon. The influential critic Ludwig Pietsch called him a great talent and an outstanding representative of modernism.