“The sentence that a well-painted turnip is better than a badly painted Madonna has become a permanent feature of modern aesthetics. But the sentence is wrong; it must read: A well-painted turnip is just as good as a well-painted Madonna.” This quote by Max Liebermann (1916) marks the point of departure for an exhibition at Lenbachhaus that explores what and, more importantly, how the artists of the nineteenth and early twentieth centuries painted. The presentation probes the question what constitutes “good painting” and examines the idea of the painterly from a variety of angles.