This remarkable color study, entirely void of any narrative interpretation, presumably originates from the first months after her relocation to Sweden, a time during which Münter, presumably also under Kandinsky's influence, was occupied with abstract compositions. However, she did not really explore this genre any deeper. This work, a mix of abstraction and symbolist elements, references works by her artist colleague Alexej von Jawlensky, and can be considered a sort of reminiscence to their collective activities in the days of the "Blauer Reiter" and earlier. An amorphic array of forms is not, as usual with Münter, structured by a linear grid. This way she creates an almost lyrical atmosphere, supported by modular dark color streaks. The small work is the result of an exploration of new means of expression that Münter sought in those days, however, she did not continue on this path.