Will Grohmann writes, "Not until 1912 did colour as such become a feature of Klee's work; and only in 1914 could he really say 'colour has taken hold of me'."

"Between 1914 and 1921, with the exception of the year 1916, Klee was as productive as ever. Several pictures painted during 1915 are closely related to the Tunis watercolours of the previous years. Others have drawing superimposed over a coloured ground, and some are architectural or abstract. In 1916 he produced a few delicate little compositions such as, the Blue Roof, Orange Moon, inspired by classic Chinese poems and romantic works, which were snapped up so eagerly by collectors that Klee was left with almost none.

"His attitude towards reality was marked by the same sort of ambivalence. Sometimes he felt that the only link between himself and material objects was through memory; at other times he rejected the idea that there is any such thing as an art of abstraction; 'The only remaining abstraction was that which is crystallized out of the transitory'." (Paul Klee, London, 1954, pp. 54, 61).

Herwarth Walden, owner of Der Sturm, began buying Klee's works in 1912. By 1915 he was selling Klee's pictures, Klee noting that works to the value of 420 marks were sold. In the following year this figure shot up to 3460 marks worth of Klee's pictures. Klee's own production in 1916, affected by his war service, was barely more than 80 works.

This work is recorded in the artist's werkverzeichnis as follows:

1916, 74
Koncentrierter Raum
Aquarel u Feder
dünnes Fabr.

The authenticity of this work has kindly been confirmed by Dr. Stefan Frey of the Paul Klee Stiftung