This deliberate use of colour is typified by the superb poster for the third exhibition designed by Thomas Heine (1867 - 1948).
Nor could I resist adding this evocative photograph of an early hang. The man on the far right is Leopold von Kalckreuth - see more of his impressive profile under 'O was for Orlik'; also there, Lovis Corinth, third from the left, (see Wim Zwier's portrait of him) and Max Liebermann, the president, turning, as always, towards the camera.
I've tried to include only strong work by Mass. The print below, 'Children in the park' is weaker but continues her parks and gardens theme. Instead of the Luxembourg or the Grande Jatte, she perhaps gives us the Tiergarten and the lakes and wooded countryside around the city. This is what I think. It is a recognisable world, anyway, that she creates, often heavily canopied. (Unfortunately, I've been unable to include an image of a house being overpowered by Virginia creeper in the autumn).
I think these final prints see her moving to a later style, the first probably pre-war. It strikes me there is something more in keeping with Carl Thiemann. But without any documentation, it's all conjecture, really.
There has also been conjecture about her so-called disappearance. Her work certainly isn't common but the reasons for this aren't hard to see. The National Socialist Society for German Culture was formed in 1927, the original Seccession folded in 1933 - and as I've tried to get across, that was about making artists accessible to the public. Then in 1937 all modernist work was cleared from German galleries and museums. If she was still living in Charlottenberg, as I assume she was, the allied occupation of west Berlin after the second war saw her isolated in another way. One source has her resident in the city as late as 1953.