In 1922, when Kandinsky was asked by Walter Gropius to join the Bauhaus in Weimar, he started for the first time to work with colour lithography. It was at the Bauhaus, with its own printing studio, that he could explore the new complex printing methods in this medium. One year later, in 1923, he produced Orange as his biggest and at the same time last colour lithograph, which H. K. Roethel describes as one of the artist's most important works in this medium. Riva Castleman calls it in her History of 20th Century Printmaking Kandinsky's finest lithograph in the geometric style. Orange shows Kandinsky's formal progress from Expressionist abstraction after nature to a more rigid structuralization with its lines, circles, triangles and squares. Always more romantic than his Constructivist contemporaries, Kandinsky continued to insinuate variable forms such as the three double lumps on the right which, with the mathematically impure arrangement of his compositional elements, promote a mystical interpretation