Evolving out of the abstract vocabulary of Schumacher's paintings from the 1950s, this mature work uses a vehement automatism and expressive surface texture to create an image pregnant with primordial spirituality.

Although non-representational, the dark impasto of Wangrin allows the viewer to interpret it as an existing real form - similar to the game of spotting faces and animals in clouds. The effigy of a mythological horse thus can be discerned in the clay-like magma, reminiscent of the prehistoric cave paintings which Schumacher saw during his travels in North Africa and South America. The title of the picture - a word made up by the artist - meanwhile suggests a character from ancient Norse legend.

The apparent spontaneity of Wangrin belies Schumacher's meticulous working procedure. According to Heinz Spielmann, "A picture by Schumacher results as a rule from a process in which tempo and lengthy periods of waiting, leading to a finished article, its destruction and renewed completion, succeed one another."