The starting point for this work was a sunrise in which the rock of the Wilder Kaiser glowed in an intense red. Like all the other works in the series, this painting also began as a figurative landscape.

Over the course of a long working process, however, the image gradually moved toward abstraction. The originally painted Wilder Kaiser remains preserved beneath the later layers of color, while the surface was progressively broken down into square, pixel-like fields of color.

This gives the painting a distinctive position within the series. It is the only work in 36 Moods of the Wilder Kaiser that almost completely abandons figuration. The original atmosphere of light can still be sensed, yet color no longer follows nature alone. Instead, its own visual impact becomes the subject of the painting.

The work explores how far a landscape can be abstracted without completely losing its atmosphere. It places the effects of color, structure, and composition at the center and deliberately avoids an unambiguous depiction.

From the very first exhibition of the series, the work proved particularly polarizing. While many younger visitors responded openly to its abstraction, older audiences tended to reject it more frequently. As a result, the painting itself became one of the most discussed works in the series.