The scene of the picture is once again the Münterhaus with its view of Murnau. The place shines in such bright sunlight in the window section that the figure sitting in front of it painting can only be seen as a shadow. Shown from the side, she is leaning over a painting surface on her knees, concentrating. She holds it with her left hand, while her right hand applies paint with the brush. Both hands are illuminated from one side by the incoming light. They are not quite harmoniously connected to the body and appear surprisingly massive, which is further emphasized by a dark and a light contour of the visible arm. The head and body of this shadowed figure also appear strangely round and stocky in contrast to the small, angular shapes of the brightly lit houses. The stylistic, almost schematic reduction of the body shapes shows clear influences of the "New Objectivity". The fragmentation of the house roofs stacked next to and against each other is reminiscent of cubist compositions. The figure depicted is Gerta Burckhardt. After Gabriele Münter's final return to her house in 1931, the 19-year-old was employed as a so-called "housedaughter". She not only helped with the household, but also looked after Münter's painting and drawing utensils, even discussed motifs and techniques with her and sometimes painted herself, as this picture shows. Gerta Burckhardt was in constant correspondence with Gabriele Münter until her death in 1962. From these letters we know that in 1938 she helped to safely pack a large number of Kandinsky's works in a hidden fireproof cellar in the Münter house in order to protect them from war damage and from being confiscated by the Nazis. It was part of Kandinsky's art collection, which he had left behind when he left in a hurry at the outbreak of the First World War. After the separation, Münter had fought to obtain these works from him as compensation for the broken marriage promise. Despite a temporary lack of money, she left this valuable collection in the so-called "million dollar cellar" of her house for years after the end of the Second World War. It was not until 1957 that she donated it to the city of Munich in the form of a foundation. Given the strong yet childlike figure of the "Girl at the Window", it is hard to imagine that Gerta Burckhardt would one day be an accomplice to such a big secret.