Kandinsky was probably introduced to the use of the spray technique in his watercolors by Klee, his close friend and neighbor at the Bauhaus. First used in 1927, it was a technique that characterized most of Kandinsky's works on paper from 1928-30. Vivian Endicott Barnett has written of the spray technique “the elements begin to hover and glide, become transparent, and seem even more immaterial than other works of the Bauhaus period” (Vivian Endicott Barnett, op. cit., p. 28).

Barnett writes further of Kandinsky, “Both in Russia and at the Bauhaus he set out...to furnish his own conception of art with what he regarded as a scientific basis, one that was transferable as a model to other arts. There were bound to be conflicts; and one of the reasons for Kandinsky's failure in Moscow was that the younger artists, such as Rodchenko and Stepanova, did not share his approach. The Bauhaus was very different: expressionist, theosophical, socioromantic, and oriental ideas played a major part in the prehistory and immediate origins of the institution. But above all, Kandinsky was not alone in Weimar and Dessau. There was his evident affinity with Klee, who...also regarded art as an analogy of creation itself” (Vivian Endicott Barnett & Armin Zweite, Kandinsky, Watercolors and Drawings, Munich, 1992, p. 28).