My coup de cœur in the Deutsche Bank collection is a wonderful 1989 painting by Imi Knoebel, a tribute to Grace Kelly. What makes a portrait? Some say it is the realistic representation of the person, how recognisable they are. Knoebel’s portraits are characterised by superimposed colour forms that are strictly minimalist in structure, leaving an empty space in the centre where Grace Kelly’s image should be found. Grace Kelly has disappeared and is replaced by a bold colour, a sort of exclamation mark standing in for an extraordinary person and an extraordinary career. Isn’t that more honest? What do we know about the private Grace Kelly in contrast to public representations of her? Through the density, warmth and physicality of the painting, we can instead establish a very personal relationship with the image and encounter the person portrayed on a deeper level. Knoebel was fascinated by the Suprematism of Kazimir Malevich, who in Black Square (1915) represented a new vision of society in that moment. Minimalism, which developed in the 1960s and to which Knoebel ascribed in its specifically German form, strives for objectivity, schematic clarity and logic. The artist withdraws from the representation of the person, refusing any pre-determined interpretation, so that a personal meaning only emerges in the encounter with the viewer.