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She made her return to Hamburg in 1914 to work as a freelance artist in her studio at Große Theaterstraße 34/35, which subsequently became a popular meeting spot for painters in Hamburg. However, her orders were not making enough profit to fund her living necessities. <br>
Alma del Banco developed her own signature style in the years after Paris. In the 1920s, she enhanced her preliminary sketches to optically shift the focus towards graphic elements. Cubist influences caused her motives to be slightly distorted, and she also used methods like the application of paint only in a very thin layer as well as leaving parts of the canvas completely unpainted, in order to intentionally generate a sketch-like overall impression. She traveled to [[Italy]] (with Gretchen Wohlwill, 1922), [[France]] and the [[Balkans|Balkan]] countries, where she continued to educate herself further. <br>
Del Banco established herself as one of the most important persons in the Hamburg art scene. In 1919, she became one of the founding members of the [[Secession (art)|Hamburg Secession]]. In 1920, she joined the ''Hamburgische Künstlerschaft'' (association of Hamburg artists) and a year later, she also became a member of the ''[[Deutscher Künstlerbund]]'' (association of German artists). At this time, she also was a member of the ''Tafelrunde'' (“round table”) hosted by [[journalist]] and [[author]] Hans W. Fischer. In 1931, she was one of the founding members of the first German [[Zonta International|Zonta]] club
In the early 1930s, at 70 years old, her art style changed, including elements of the characteristic style of the Hamburg Secession. Her late works are not as sketch-like, more developed, and the outlines transformed into soft, dark brushstrokes. Her paintings are formatively influenced by her cheerfulness and her critical, uncompromising art style. She preferred to paint motives and still lives of the northern German area, mainly around Hamburg and [[Cuxhaven]], and she became a popular portraitist who painted many prominent members of Hamburg society, like [[mayor]] Wilhelm Burchard-Motz, [[Ida Dehmel]], Max Sauerlandt and government building officer Ludwig Wendemuth (1860-1929). Along with her Secession colleagues [[Anita Rée]] and Gretchen Wohlwill, she was a valued painter in Hamburg during the late [[Weimar Republic|Weimar Republic]].
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