The brightly coloured houses of Murnau complimented Münter's obsession with chromatics and the distillation of form. As seen in Dorfstrasse in Blau, the contiguous planes, windows and shutters of the picturesque market town gave her more options for contrasts within a restricted space, allowing her to impose a structure that made the perspective of her composition secondary to the relationships between broad areas of bright colour. Münter spent brief periods in the countryside during the winters of 1909 and 1910 and frequently painted outdoors, as a photo in the Kochel churchyard in 1909 shows. During the winter months, the painter displayed a strong preference for blue, to instil a sense of the frosty atmosphere in which she worked and to emphasize the brilliant contrast of shadows on snow. Dorfstrasse in Blau demonstrates Münter's aim to infuse her oils with the enamelled colours that reflected her artistic eye rather than the naturalistic colours of the landscape. The reductive image of a vertiginously receding road and a cluster of houses, huddled as if sheltering from the cold, expresses only the essential components of the scene in swift, vigorous brushwork, whilst the minimal structure of flat, geometric shapes is unified by continuous contour lines like leading in a stained glass window. By eschewing illusions of space and depth, Dorfstrasse in Blau verges on the abstract, with planar spaces set in a pattern of kaleidoscope of colour to create an autonomous picture directly sourced from the artist's visual imagination.