In the late summer of 1908, Kandinsky and Münter spent several weeks painting in Murnau with Alexej Jawlensky and Marianne von Werefkin. A new approach in Kandinsky's painting is already evident in the oil sketch from 1908, which shows Gabriele Münter painting the daughter of the Murnau Griesbräu innkeeper. The two artist couples stayed at the Griesbräu during their stay. The model in the red dirndl shines out from the middle of the picture. Gabriele Münter is in the foreground on the right. Pictured from behind with an easel and palette, her color hardly stands out from the green-blue landscape. Münter probably gave her model a branch in her hand to loosen up her posture a little. The lower half of the picture is taken up by a matte green meadow. It is painted with fleeting brushstrokes, so that the brown painting cardboard keeps shining through. A train can be seen in the background on the left. The deep blue mountain massifs of Herzogstand and Heimgarten rest between trees and against the pale blue sky. In the oil sketch, Kandinsky places clearly defined areas of color next to each other using dark contour lines, which are not further elaborated. Through the spatial staggering - Gabriele Münter in the foreground, the model in the middle ground and the train and the mountains in the background - he works perspective into the picture. However, a light and shadow effect is only partially implemented in the figure of Münter from behind. Only the central figure of the model seems to be illuminated by the sun in its bright colors. With the new, reductive painting style, Kandinsky became more similar to his fellow painters from Murnau than he otherwise rarely did in his work. The train on the Munich-Garmisch railway line allows the location of the painters to be determined more precisely. They are located on a hill where the house that Münter and Kandinsky would use as their summer residence until 1914 and that would serve as a retreat for the painter until her death in 1962 would be built shortly afterwards. The train would appear two more times in Kandinsky's paintings. Wassily Kandinsky used technological achievements as a motif in only a very few of his works.