This painting is one of a lush and vibrant suite of four canvases produced at a time when artists in several countries were beginning to explore what Kandinsky, a pioneer of abstract art, called "nonobjective" painting—painting that showed no immediately recognizable objects. Instead, Kandinsky wanted each of his works to be "a graphic representation of a mood." Studies for one of these paintings suggest that he had a landscape in mind when he conceived it, and we might still see in all four works a field, a mountain, or a cloud; but they are much transformed. Similarly, if these works do indeed describe the four seasons, as one scholar has guessed, then their colors and abstract shapes respond to some quality sensed in the year's phases, rather than to any specific scene.
Edwin R. Campbell, who commissioned the series, was an automobile executive, who had the works made to fit the walls in the entrance hall of the New York apartment he shared with his wife, Margery. Unfortunately, the couple separated in 1921, and the paintings separated too, being divided into pairs, and passing through several different collections; they were permanently reunited at The Museum of Modern Art in 1982.