In the early years in Murnau from 1908 to 1914, Gabriele Münter tried to translate her landscapes into a depiction of the essential, of the feeling. Even pictures of people or seemingly insignificant events are reduced to an extract and thereby gain in meaning. The painting "Kandinsky and Erma Bossi at the Table" was created in 1909 and 1910 based on a spontaneous pencil sketch that captured a table conversation between Kandinsky and his friend, the painter Erma Bossi. Erma Bossi was also a member of the "New Artists' Association Munich" and had already visited Murnau in 1908 during a summer stay. The two artists are sitting in the paneled dining area of the Münter house at a white-covered table. Kandinsky's elongated hand is raised in a lecturing manner. The usually elegantly dressed painter is wearing a bright blue jacket, probably leather trousers, green calf warmers and sandals. The face is reduced to the beard and blue reflective glasses. The artist colleague listening, on the other hand, has no color: the gray of the skirt blends in with the dark paneling, apron and blouse match the white of the tablecloth. Erma Bossi has turned her head so far away that only a lost profile of her face can be seen. Her whole posture is determined by the tense listening. The scene is highlighted by the dark, exaggerated paneling, effectively framed by the yellow wall and the red floor. Everything in this picture seems to focus on Kandinsky and his lecturing gesture, expressing his nature with simple means and light irony, as August Macke's wife Elisabeth also describes in retrospect: “Kandinsky himself was a strangely strange type, incredibly stimulating for all artists who fell under his spell, he had something mystical, fantastic about him, coupled with strange pathos and a tendency toward dogmatism. His art was a lesson, a worldview.” With just a few brushstrokes, Münter also outlines the deliberately simple furnishings of the country house with its folk collectibles. In doing so, she also shows the joy of country life and the return to the simple, the original, which she and Kandinsky aspired to in Murnau, not only in art, but also in everyday life. This is also reflected in Kandinsky's colorful rural costume, which he often wore in Murnau and which he also wore when doing gardening.