Klee joined the teaching staff of the Bauhaus in Weimar in early 1921. The position proved strenuous for the artist, who now had to divide his time between teaching and his creative work; however, the experience of different disciplines, especially those of architecture and design, deeply enriched his painting.
The concept of planar architecture had been central to Klee's painting since 1914, when he came under the spell of Robert Delaunay's pre-war Fenêtres series. Here Klee further refines and classicizes the concept of the grid; while the surface is absolutely flat, the careful gradations of tone give the effect of overlapping hands of color and an ambiguous sense of depth.
The layered constructive aspect of this watercolor also extends to its symbolism. The primary reference is of course to Christ's sepulchre, and the mystery of the Passion and Resurrection. At the same time, Klee also makes indirect reference to the iconography of the Russian Suprematists, whose work during the revolutionary period following World War I was now becoming better known in western Europe. The simple cruciform shape becomes a meditative emblem of universal spiritual fullfilment and tranquility.