Geometric shapes such as lines, circles, semicircles, triangles, squares, a checkerboard pattern and a black area in the center of the crossing figures, as well as a larger brownish-gray trapezoid, are reminiscent of the Russian painter Kazimir Malevich and his suprematist style, which Kandinsky understood and admired.

The white background of the painting creates the impression that the geometric shapes and the main axes formed by them, with the emblems of Suprematism at the center of composition, are floating freely in an endless space and thus appear weightless.

The motif of elongated, sharpened lance-like elements in the shape of St. Andrew's cross appears several times in his work and refers to the dragon slayer Saint George.

[2][3][4] On December 22, 1922, Kandinsky made a preliminary study in watercolor and China ink on paper measuring 45.4 × 40.4 cm, now also in the Musée National d'Art Moderne, which, although smaller, has the same forms as in the final execution.

In Kandinsky's earlier works, landscape elements such as conifers and rocky peaks were present, but here they were replaced by triangles and sharp jags.