The watercolor, a repetition of the motif that Oskar Schlemmer had already rendered in the painting "Sitzende in Weiß" around1925, is a document of the artist's turn to a more spiritual and abstract style. Schlemmer noted about the watercolor in his diary on 18 November 1936 that he tried to find "the 'magic-suggestive atmosphere' of this composition, achieved through the white priming and the artificiality of figure and hair, anew and with different stylistic means" (quote after: v. Maur, p. 60). Oskar Schlemmer used the period between the two works to attain a new conception of the motif. The schematic figurative aspect remained; what is new is the statuary element of the seated, ending in an aura of abstract mysticism. Similar to the figures in the "Triadisches Ballett", the pose and not the individuality is the expression's decisive factor. The figure's aloofness, comparable with portraits of rulers from Italian mannerism, has a projected effect on the observer which Oskar Schlemmer made a special stylistic means in this work. Owed to a state between approximation and formal abstraction, his figures dwell in a no man's land of "magical suggestion", as he noted in his diary in 1936.