The year 1913 marked a stylistic turning point in Koloman Moser’s (1868–1918) painting. This was brought about by a trip to Geneva to visit Ferdinand Hodler (1853–1918). Hodler’s works would subsequently influence Moser’s manner of painting, investing his renderings with increased severity and monumentality. At the same time, the contrasting use of cooler colors is testament to Moser’s exploration of avant-garde color and perception theories. The figures in his paintings were often placed into an undefined image space and appear disconnected from the world. This impression is heightened by an aura of light which frames the bold contours and invests the figures with additional luminosity.