==== Prosecution and confiscation of her works ====
However, this changed due to the increasingly [[Antisemitism|antisemitic]] atmosphere in the late 1920s, which resulted in the [[Nazi Germany|national socialist dictatorship]]. In 1933, the association of Hamburg artists expelled Alma del Banco because she came from a Jewish family, as these expulsions had become government mandated. In contrast, the ''Hamburg Secession'' disbanded itself, partially because they wanted to spare their Jewish colleagues the humiliation of being expelled. <br>
13 of her paintings were confiscated from the ''Hamburger Kunsthalle'' in 1937 during the ''Entartete Kunst'' ([[degenerate art]]) movement. Nine of these paintings were subsequently destroyed, the fate of three more paintings is unknown. Only one painting, ''Bildnis Pastor Hunzingers''<ref>{{Internetquelle [REF|url=http://emuseum.campus.fu-berlin.de/eMuseumPlus?service=direct/1/ResultDetailView/result.t1.collection_detail.$TspImage.link&sp=10&sp=Scollection&sp=SfieldValue&sp=0&sp=0&sp=3&sp=SdetailView&sp=7&sp=Sdetail&sp=2&sp=F 5]|titel=Stale Session |abruf=2022-08-23}}</ref> (portrait of Pastor Hunzinger), could be recovered. The oil painting was sold to [[art dealer]] Bernhard A. Böhmer in 1940 for “recycling”, recovered after 1945 and, as of March 2021, now resides in the ''Kulturhistorisches Museum Rostock''<ref [REFname="Stolpersteine">{{Internetquelle 6]|url=http://emuseum.campus.fu-berlin.de/eMuseumPlus?service=RedirectService&sp=Scollection&sp=SfieldValue&sp=0&sp=0&sp=3&sp=SdetailList&sp=0&sp=Sdetail&sp=0&sp=F |titel=Stale Session |abruf=2022-08-23}}</ref> (cultural-historical museum of Rostock) for the sake of [[Repatriation (cultural property)|repatriation]]. In 1938, Alma del Banco was expelled from the ''Reichskulturkammer'' ([[Reich Chamber of Culture]]). She was persecuted by the regime both for being Jewish and for being an [[Avant-garde|avantgarde]] artist. The government banned her from partaking in [[Exhibition|exhibitions]], and due to her expulsion from artistic societies as well as the public contempt for her works, she began spiraling more and more into artistic and social isolation.
