It is July 31, 1910. A sunny Sunday in summer. The painter Gabriele Münter from Murnau is drawn out into nature. Together with her partner, the painter Wassily Kandinsky, she goes on a boat trip on Lake Staffelsee. Her artist friends Marianne von Werefkin and Alexej von Jawlensky as well as Jawlensky's son Andreas are also there. He is just eight years old. They are often together in this group. For two years they have been on many such trips. Gabriele Münter draws and draws. In a little book she sketches the people and scenes in the boat. Even her friend Marianne's dachshund appears in the picture. These sketches later become the basis for several oil studies and a large version. This large version shows Münter's partner Wassily Kandinsky - almost a little stiff - standing at the bow. The picture can be seen today in the Milwaukee Art Museum in the USA. The study of the first draft here in the museum, on the other hand, seems much fresher and more lively. It is a small oil sketch with both women and the boy. Their faces are turned away. And the child's face is not even drawn. But that is precisely what leaves room for imagination when looking at it. What are the women talking about? And what is going through the mind of the boy, who is dreamily looking out over the lake? Perhaps that they will soon arrive at the other shore and what else the trip will bring. But who is the person at the oars, whose back we can only see? It is possible that it is Helene Nesnakomoff - the maid of Münter's friend Marianne. She is the mother of little Andreas. Münter could have stood behind her and sketched the scene. But the painter could also have immortalized herself in the figure of the rower. This is supported by the central position in the picture and ultimately also by Münter's self-image as a painter. The group will soon no longer meet like this. Münter's Russian painter friend Alexej von Jawlensky cannot stand the summer in Upper Bavaria. "[...] The summer is always horrible there and we sit there with the window open the whole time, even in autumn." This is what the expressionist wrote in a letter. His legs and shoulders hurt, which he puts down to the climate. His doctor ultimately forbids him from the "humid climate in Murnau" altogether. This is how Gabriele Münter records one of their last trips together in Murnau.