Apart from a group of themes that dominate Jawlensky's entire oeuvre - at this point the preferred abstract heads that would later lead to the famous Meditations - Jawlensky found motifs in his immediate private surroundings, most of all still lifes and at times landscapes. Through these works Jawlensky found his way back to the pictorial impression that was decisive for his early creation. The impression of light effects in nature are subject of these works, which, rarely enough, interrupt the artist's occupation with abstract portrays sort of like a finger exercise. In these works Jawlensky is free in the choice of artistic means, which he employs with great poise. Entirely focussed on the atmosphere of the sunset at the sea, he completely dispenses with any accessory. Water and sky share an image space that is solely created from the color. Since the days of Impressionism artists have found inspiration for ever new interpretations in the light's unusual abundance of colors at dusk and at dawn. Claude Monets 'Impression - soleil levant' from 1872 was the eponym for an entire epoch. Jawlensky picks this tradition up and, comparable with Emil Nolde, takes it to a new level that is characterized by a dense style and an expressive stroke of the brush.