In his influential treatise Concerning the Spiritual in Art, Kandinsky theorized a new form of artistic expression that would reject the materialist world in favor of emotional and spiritual ideals. Abstract forms and color symbolism would be used to evoke an inner, preconscious realm. Improvisation 27, composed of dark lines and colorful abstract masses, features three iterations of an embracing couple surrounded by serpentine forms. Kandinsky hints at the painting’s possible subject in the subtitle, Garden of Love II, likely a reference to biblical Eden.
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Artwork Details
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Title:Improvisation 27 (Garden of Love II)
Artist:Vasily Kandinsky (French (born Russia), Moscow 1866–1944 Neuilly-sur-Seine)
Date:1912
Medium:Oil on canvas
Dimensions:47 3/8 × 55 1/4 in. (120.3 × 140.3 cm)
Classification:Paintings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.1
Inscription: Signed and dated (lower left): Kandinsky 1912
[Neue Kunst Hans Goltz, Munich, until 1913; sold on March 8, 1913 for $500 to Stieglitz]; Alfred Stieglitz, New York (1913–d. 1946; his estate, 1946–49; gift to MMA)
Berlin. Galerie Der Sturm. "Erste Ausstellung: Der Blaue Reiter, Franz Flaum, Oskar Kokoschka, Expressionisten," March 12–before April 12, 1912, no. 48 (as "Improvisation Nummer 27").
Berlin. Galerie Der Sturm. "Zweite Ausstellung," April 12–May 31, 1912, no. 61 (as "Improvisation Nummer 27").
Berlin. Galerie Der Sturm. "Kandinsky Kollektiv-Ausstellung 1902–1912," October 1912, not in catalogue [possibly this work].
New York. Armory of the Sixty-ninth Regiment. "International Exhibition of Modern Art (The Armory Show)," February 17–March 15, 1913, no. 213 (as "Improvisation," lent by M. Hans Goltz).
Art Institute of Chicago. "International Exhibition of Modern Art (The Armory Show)," March 24–April 16, 1913, no. 185 (as "Improvisation," lent by Hans Goltz).
Copley Hall, Copley Society of Boston. "International Exhibition of Modern Art (The Armory Show)," April 28–May 19, 1913, no. 92 (as "Improvisation," lent by Mr. Hans Goltz).
Philadelphia Museum of Art. "History of an American, Alfred Stieglitz: '291' and After, Selections from the Stieglitz Collection," July 1–November 1, 1944, no. 120 (as "Improvisation").
Museum of Modern Art, New York. "Alfred Stieglitz Exhibition: His Collection," June 10–August 31, 1947, no catalogue (checklist no. 48; as "Painting No. 1").
Art Institute of Chicago. "Alfred Stieglitz: His Photographs and His Collection," February 2–29, 1948, no catalogue (checklist no. 55; as "Painting No. 1").
New York. The Metropolitan Museum of Art. "Modern Paintings—Nineteenth and Twentieth Centuries," July 8–September 6, 1950, no catalogue.
Museum of Modern Art, New York. "From the Alfred Stieglitz Collection: An Extended Loan from the Metropolitan Museum of Art," May 22–August 12, 1951, no catalogue (checklist no. E.L.51.651; loan extended to December 9, 1957).
Amherst, Mass. Amherst College, Mead Arts Building. "The 1913 Armory Show in Retrospect," February 17–March 17, 1958, no. 26.
Utica. Munson-Williams-Proctor Arts Institute. "1913 Armory Show, 50th Anniversary Exhibition," February 17–March 31, 1963, no. 213 (as "Improvisation No. 27").
New York. Armory of the Sixty-ninth Regiment. "1913 Armory Show, 50th Anniversary Exhibition," April 6–28, 1963, no. 213.
Museum of Fine Arts, Boston. "Masterpieces of Painting in The Metropolitan Museum of Art," September 16–November 1, 1970, not in catalogue.
National Gallery of Art, Washington D.C. "Kandinsky: The Improvisations," April 26–August 2, 1981, extended to September 7, 1981, unnum. brochure (as "Improvisation 27 [Garden of Love]").
New York. The Metropolitan Museum of Art. "Selection One: Twentieth-Century Art," February 1–April 30, 1985, no catalogue.
New York. The Metropolitan Museum of Art. "Selection Three: Twentieth-Century Art," October 22, 1985–January 26, 1986, no catalogue.
Shizuoka Prefectural Museum of Art. "Landscape Painting in the East and West," April 19–June 1, 1986, no. 33 (as "Garden of Love [Improvisation No. 27").
Kobe City Museum. "Landscape Painting in the East and West," June 7–July 13, 1986, no. 33.
Madrid. Sala de Exposiciones de la Fundación "la Caixa". "Kandinsky / Mondrian: Dos caminos hacia la abstracción," September 16–November 13, 1994, no. 27.
Barcelona. Centre Cultural de la Fundación "la Caixa". "Kandinsky / Mondrian: Dos caminos hacia la abstracción," November 25, 1994–January 22, 1995, no. 27.
National Gallery of Art, Washington D.C. "Modern Art and America: Alfred Stieglitz and His New York Galleries," January 28–April 22, 2001, unnumbered cat. (pl. 23; as "The Garden of Love [Improvisation Number 27]").
Paris. Musée d'Orsay. "New York et l'art moderne: Alfred Stieglitz et son cercle (1905–1930)," October 18, 2004–January 16, 2005, no. 97 (as "The Garden of Love [Improvisation Number 27]").
Madrid. Museo Nacional Centro de Arte Reina Sofía. "Nueva York y el arte moderno: Alfred Stieglitz y su circulo (1905–1930)," February 10–May 16, 2005, no. 97.
Munich. Städtische Galerie im Lenbachhaus. "Kandinsky—Absolute Abstract," October 25, 2008–February 22, 2009, no. 33.
Paris. Centre Pompidou. "Kandinsky—Absolute Abstract," April 8–August 10, 2009, no. 33.
New York. Solomon R. Guggenheim Museum. "Kandinsky," September 18, 2009–January 13, 2010, no. 30.
New York. The Metropolitan Museum of Art. "Stieglitz and His Artists: Matisse to O'Keeffe," October 13, 2011–January 2, 2012, no. 4.
New York. The Metropolitan Museum of Art. "Making The Met, 1870–2020," August 29, 2020–January 3, 2021, unnumbered cat. (fig. 179).
R[oyal]. C[ortissoz]. "The Post-Impressionist and Cubist Vagaries." New York Tribune (February 23, 1913), section II, p. 6.
"Buy Cubist Pictures While Critics Cavil: Wealthy Patrons of Art Invest Heavily in Works by New School." Chicago Record-Herald (March 26, 1913), p. 14, erroneously states that a Chicago collector purchased this work for $8,000.
Vasily Kandinsky. Kandinsky, 1901–1913. Berlin, [1913], ill. p. 67, calls it "Improvisation 27 (Liebesgarten)".
J. Nilsen Laurvik. "New Paths in Art. Apropos: The International Exhibition of Art." International 7 (April 1913), p. 89.
"Art Extremists, in Broadsides of Lurid Color, Invade New York and Capture an Armory." New York Herald (February 17, 1913), p. 10.
Julian Street. "Why I Became a Cubist." Everybody's Magazine 28 (June 1913), ill. p. 818.
[Samuel Swift]. "Art Photographs and Cubist Painting." Sun (March 3, 1913), p. 7.
[Israel White]. "Art's Trend Is Exhibit Lesson. Association of Painters and Sculptors Show Forces Working in Modern Expression: From Ingres to Futurists." Newark Evening News (February 18, 1913), p. 7.
Marsden Hartley. Letter to Alfred Stieglitz. [April 9, 1913] [published in Ref. Voorhies 2002, p. 68].
Arthur Jerome Eddy. Cubists and Post-Impressionism. Chicago, 1914, p. 116.
Vasily Kandinsky. Tekst Khudozhnika. Moscow, 1918, p. 20, fig. 9.
"The Great Armory Show of 1913." Life 28 (January 2, 1950), p. 61, ill.
Emily Genauer. "Art and Artists: Unfettered Art Has Taken Over the Metropolitan's Gallery B 17." New York Herald Tribune (August 13, 1950), p. D5.
Meyer Schapiro. "Rebellion in Art." America in Crisis: Fourteen Crucial Episodes in American History. Ed. Daniel Aaron. New York, 1952, p. 213.
Kenneth C. Lindsay. "Kandinsky in 1914 New York: Solving a Riddle." Art News 55 (May 1956), p. 33.
Will Grohmann. Wassily Kandinsky: Life and Work. New York, [1958], pp. 118, 332, no. 149, p. 355, classified catalogue no. 74, ill., calls it "Improvisation 27 (Garden of Love)".
Frank Anderson Trapp. The 1913 Armory Show in Retrospect. Exh. cat., Amherst College, Mead Arts Building. Amherst, Mass., 1958, pp. 8, 22, no. 26, ill.
Frank Anderson Trapp. "The Armory Show Revived by Amherst." Art in America 46 (Spring 1958), p. 66, ill., calls it "Improvisation No. 27".
Milton W. Brown. The Story of the Armory Show. [n.p.], [1963], pp. 92, 104, 256, no. 213, ill., calls it "Improvisation [No. 27]".
Hideho Nishida. "Genèse du Cavalier bleu." XXe siècle no. 27 (December 1966), p. 23.
H.H. Stuckenschmidt. "Kandinsky et la musique." XXe siècle no. 27 (December 1966), ill. p. 28.
George Heard Hamilton. "The Alfred Stieglitz Collection." Metropolitan Museum Journal 3 (1970), p. 381, fig. 9, calls it "Improvisation (Garden of Love)".
Dominique Bosseur. "Les revues américaines et les 'Little Magazines'." L'année 1913: Les formes esthétiques de l'oeuvre d'art à la veille de la première guerre mondiale. Ed. L[iliane]. Brion-Guerry. Vol. 2, Paris, 1971, p. 1035.
Sam Hunter and John Jacobus. American Art of the 20th Century: Painting, Sculpture, Architecture. New York, 1973, fig. 181, call it "Improvisation No. 27".
Erika Hanfstaengl. Wassily Kandinsky: Zeichnungen und Aquarelle. Katalog der Sammlung in der Städtischen Galerie im Lenbachhaus München. Munich, 1974, p. 80.
Angelica Zander Rudenstine. The Guggenheim Museum Collection: Paintings 1880–1945. New York, 1976, vol. 1, p. 231.
Gail Levin. "Marsden Hartley and the European Avant-Garde." Arts Magazine 54 (September 1979), p. 163 n. 31.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 504, 513, fig. 914 (color).
Rose-Carol Washton Long. Kandinsky: The Development of an Abstract Style. Oxford, 1980, pp. 101–6, 111, 179 n. 64, p. 181 n. 18, colorpl. VI.
Hilton Kramer. "Art View: Kandinsky's Spiritualism." New York Times (May 10, 1981), p. D35.
E. A. Carmean Jr. and Trinkett Clark. Kandinsky: The Improvisations. Exh. brochure, National Gallery of Art. Washington, D.C., 1981, unpaginated, ill.
Hans K. Roethel and Jean K. Benjamin. Kandinsky Catalogue Raisonné of the Oil-Paintings. Vol. 1, 1900–1915. Ithaca, N.Y., 1982, pp. 416, 422, no. 430, ill.
John E. Bowlt. "Reviews: 'Kandinsky: The Development of an Abstract Style' by Rose-Carol Washton Long." Slavic Review 41 (Spring 1982), p. 192.
Philip Pearlstein. "When Paintings Were Made in Heaven." Art in America 70 (February 1982), p. 88, ill.
Carter Ratcliff. "Kandinsky's Book of Revelation." Art in America 70 (December 1982), pp. 107–8, ill. (color).
Gail Levin. "Konrad Cramer: Link from the German to the American Avant-Garde." Arts Magazine 56 (February 1982), p. 147, fig. 10.
Rose-Carol Washton Long. "Kandinsky's Vision of Utopia as a Garden of Love." Art Journal 43 (Spring 1983), pp. 52–55, fig. 9, calls it "Improvisation 27 (Garden of Love)".
William S. Lieberman. 20th Century Art: Selections from the Collection of The Metropolitan Museum of Art, New York. Vol. 1, Painting: 1905–1945. New York, 1986, pp. 6, 24–25, 63, ill. (color, overall and detail), calls it "Improvisation Number 27: The Garden of Love".
Peter Vergo. Kandinsky Cossacks. London, 1986, pp. 17, 29 n. 24, fig. 24.
Lisa Messinger inLandscape Painting in the East and West. Exh. cat., Shizuoka Prefectural Museum of Art. [Shizuoka–ken], 1986, pp. 293, 358, no. 33, ill. p. 91 (color).
Ann Dumas inLandscape Painting in the East and West. Exh. cat., Shizuoka Prefectural Museum of Art. [Shizuoka-Ken], 1986, p. 315.
Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, pp. 108–9, colorpl. 84.
Klaus Kertess. Marin in Oil. Exh. cat., Parrish Art Museum. Southhampton, N. Y., 1987, p. 36, fig. 18.
John Dorsey. "New Wing Lifts the Met Into the 20th Century." Sun (Baltimore, Md.) (February 1, 1987), p. 12K, calls it "Improvisation 27: Garden of Love".
Milton W. Brown. The Story of the Armory Show. 2nd ed. [1st ed., Greenwich, Conn., 1963]. New York, 1988, pp. 116, 129, 280–81, no. 213, colorpl. 8, calls it "Garden of Love (Improvisation #27)".
Donna M. Cassidy. "Arthur Dove's Music Paintings of the Jazz Age." American Art Journal 20, no. 1 (1988), pp. 19–20, fig. 13.
Martin Green. New York 1913: The Armory Show and the Paterson Strike Pageant. New York, 1988, p. 188.
Gail Stavitsky inAmerican Pastels in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1989, p. 119, fig. 37.
Sarah Whitaker Peters. Becoming O'Keeffe: The Early Years. New York, 1991, p. 94, colorpl. 40 (upside down), calls it "Improvisation 27: The Garden of Love".
Gail Levin in Gail Levin and Marianne Lorenz. Theme and Improvisation: Kandinsky and the American Avant-Garde, 1912–1950. Exh. cat., Phillips Collection, Washington, D. C. Dayton, Oh., 1992, pp. 11–14, 20 n. 15, pp. 22, 24–26, fig. 1.1, calls it "Improvisation No. 27".
Marianne Lorenz in Gail Levin and Marianne Lorenz. Theme and Improvisation: Kandinsky and the American Avant-Garde, 1912–1950. Exh. cat., Phillips Collection, Washington. Dayton, Oh., 1992, p. 91.
Vivian Endicott Barnett. Kandinsky Watercolours: Catalogue Raisonné. Vol. 1, 1900–1921. Ithaca, N. Y., 1992, p. 267.
Vivian Endicott Barnett inKandinsky Watercolors and Drawings. Ed. Vivian Endicott Barnett and Armin Zweite. Exh. cat., Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Munich, 1992, pp. 34, 42 n. 12, p. 219.
Barbara Burn, ed. Masterpieces of the Metropolitan Museum of Art. New York, 1993, p. 298, ill. (color), calls it "The Garden of Love (Improvisation Number 27)".
Robert M. Crunden. American Salons: Encounters with European Modernism, 1885–1917. New York, 1993, p. 322.
Christopher Butler. Early Modernism: Literature, Music, and Painting in Europe, 1900–1916. Oxford, 1994, pp. 40–41, colorpl. VI, calls it "Improvisation 27 (Garden of Love)".
Barbara Burn, ed. The Metropolitan Museum of Art Guide. 2nd rev. ed. (1st ed., 1983). New York, 1994, p. 434, no. 7, ill. (color), calls it "The Garden of Love (Improvisation Number 27)".
Vivian Endicott Barnett inKandinsky / Mondrian: Dos caminos hacia la abstracción. Exh. cat., Sala de Exposiciones de la Fundación "la Caixa," Madrid. Barcelona, 1994, pp. 25, 29, 143, 161, 163, no. 27, ill. p. 66 (color).
Katherine Hoffman. Georgia O'Keeffe: A Celebration of Music and Dance. New York, 1997, pp. 21–22, fig. 2, calls it "The Garden of Love (Improvisation Number 27)".
Debra Bricker Balken in Debra Bricker Balken with William C. Agee and Elizabeth Hutton Turner. Arthur Dove: A Retrospective. Exh. cat., Phillips Collection, Washington, D. C. Andover, Mass., 1997, p. 22, fig. 7, calls it "The Garden of Love (Improvisation Number 27)".
Lowery S. Sims inNorman Lewis: Black Paintings 1946–1977. Exh. cat., Studio Museum in Harlem. New York, 1998, p. 43, fig. 24, calls it "In the Garden of Love (Improvisation) Number 27".
Patricia McDonnell and Stacey Epstein. Concerning Expressionism: American Modernism and the German Avant-Garde. Exh. cat., Hollis Taggart Galleries. New York, 1998, pp. 24–25, fig. 2, call it "The Garden of Love (Improvisation Number 27)"
.
William B. Scott and Peter M. Rutkoff. New York Modern: The Arts and the City. Baltimore, 1999, p. 61.
Stella Paul. Twentieth-Century Art at the Metropolitan Museum of Art: A Resource for Educators. New York, 1999, pp. 31–33, ill. and ill. p. 30 (color), calls it "The Garden of Love (Improvisation Number 27)".
Charles Brock in Sarah Greenough. Modern Art and America: Alfred Stieglitz and His New York Galleries. Exh. cat., National Gallery of Art. Washington, D. C., 2000, pp. 128, 499 n. 8, pp. 533, 560, colorpl. 23.
Gerald N. Izenberg. Modernism and Masculinity: Mann, Wedekind, Kandinsky through World War I. Chicago, 2000, p. 212, colorpl. 4, calls it "Improvisation 27 (The Garden of Love)".
Donna M. Cassidy. Jazz: An American Muse. "Seeing" Musically: The Meanings of Music in 20th-Century American Art. Exh. cat., Reynolda House Museum of American Art. Winston-Salem, N. C., 2000, pp. 10–11, fig. 8, calls it "The Garden of Love (Improvisation Number 27)".
William C. Agee in Sarah Greenough. Modern Art and America: Alfred Stieglitz and His New York Galleries. Exh. cat., National Gallery of Art. Washington, D.C., 2000, p. 429.
Peter-Cornell Richter. Georgia O'Keeffe and Alfred Stieglitz. New York, 2001, pp. 72–73, ill., calls it "Improvisation No. 27".
Hilton Kramer. "Majestic Stieglitz Show Charts Modernist Course." New York Observer (February 5, 2001), p. 1.
John Loughery. "The Example of Alfred Stieglitz." Hudson Review 54 (Summer 2001), p. 287.
Sarah Greenough. Alfred Stieglitz: The Key Set. The Alfred Stieglitz Collection of Photographs. Vol. 1, 1886–1922. New York, 2002, p. 233, ill.
James Timothy Voorhies, ed. My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915. Columbia, S. C., 2002, p. 68 n. 2.
Patricia McDonnell. Painting Berlin Stories: Marsden Hartley, Oscar Bluemner, and the First American Avant-Garde in Expressionist Berlin. New York, 2003, pp. 45–46.
Katherine Hoffman. Stieglitz: A Beginning Light. New Haven and London, 2004, p. 262, calls it "The Garden of Love (Improvisation Number 27)".
Hunter Drohojowska-Philp. Full Bloom: The Art and Life of Georgia O'Keeffe. New York, 2004, p. 86.
Christine I. Oaklander. "Arthur B. Davies, William Fraetas, and 'Color Law'." American Art 18 (Summer 2004), p. 19, fig. 9 (color), calls it "The Garden of Love (Improvisation No. 27)".
Kathleen Pyne. Modernism and the Feminine Voice: O'Keeffe and the Women of the Stieglitz Circle. Berkeley, 2007, pp. xiii–xiv, 145, fig. 76 (color), calls it "Garden of Love (Improvisation 27)".
Annegret Hoberg inKandinsky—Absolute Abstract. Ed. Helmut Friedel. Exh. cat., Städtische Galerie im Lenbachhaus und Kunstbau. Munich, 2008, p. 24.
Tracey Bashkoff inKandinsky—Absolute Abstract. Ed. Helmut Friedel. Exh. cat., Städtische Galerie im Lenbachhaus und Kunstbau. Munich, 2008, pp. 279, 289, no. 33, ill. p. 91 (color).
Debra Bricker Balken. Dove/O'Keeffe: Circles of Influence. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2009, pp. 33, 88 n. 77, fig. 25 (color), calls it "The Garden of Love (Improvisation Number 27)".
Lisa Mintz Messinger inStieglitz and His Artists: Matisse to O'Keeffe. The Alfred Stieglitz Collection in The Metropolitan Museum of Art. Ed. Lisa Mintz Messinger. Exh. cat., The Metropolitan Museum of Art. New York, 2011, pp. 11, 206.
Jessica Murphy inStieglitz and His Artists: Matisse to O'Keeffe. The Alfred Stieglitz Collection in The Metropolitan Museum of Art. Ed. Lisa Mintz Messinger. Exh. cat., The Metropolitan Museum of Art. New York, 2011, pp. 86, 109.
Magdalena Dabrowski inStieglitz and His Artists: Matisse to O'Keeffe. The Alfred Stieglitz Collection in The Metropolitan Museum of Art. Ed. Lisa Messinger. Exh. cat., The Metropolitan Museum of Art. New York, 2011, pp. 25–27, 243, 314 nn. 9, 17, no. 4, ill. (color) and frontispiece (color detail).
Christel Hollevoet-Force inStieglitz and His Artists: Matisse to O'Keeffe. The Alfred Stieglitz Collection in The Metropolitan Museum of Art. Ed. Lisa Mintz Messinger. Exh. cat., The Metropolitan Museum of Art. New York, 2011, p. 19.
Katherine Hoffman. Alfred Stieglitz: A Legacy of Light. New Haven, 2011, fig. 16 (color).
The Metropolitan Museum of Art Guide. New York, 2012, pp. 384–85, 411, ill. (color, overall and detail).
Matthew Drutt. "The Armory Show 1913: A Centennial Reckoning." Art + Auction 36 (February 2013), p. 78, ill. (color).
Didier Ottinger inThe Armory Show at 100: Modernism and Revolution. Ed. Marilyn Satin Kushner and Kimberly Orcutt. Exh. cat., New-York Historical Society. New York and London, 2013, p. 187, fig. 132 (color).
Roberta J. M. Olson inThe Armory Show at 100: Modernism and Revolution. Ed. Marilyn Satin Kushner and Kimberly Orcutt. Exh. cat., New-York Historical Society Museum & Library. New York and London, 2013, p. 308.
Anne McCauley inThe Armory Show at 100: Modernism and Revolution. Ed. Marilyn Satin Kushner and Kimberly Orcutt. Exh. cat., New-York Historical Society. New York and London, 2013, p. 150.
Avis Berman inThe Armory Show at 100: Modernism and Revolution. Ed. Marilyn Satin Kushner and Kimberly Orcutt. Exh. cat., New-York Historical Society. New York and London, 2013, p. 419.
Marilyn Satin Kushner and Kimberly Orcutt, ed. The Armory Show at 100: Modernism and Revolution. Exh. cat., New-York Historical Society. New York and London, 2013, pp. 447, 466.
Kimberly Orcutt inThe Armory Show at 100: Modernism and Revolution. Ed. Marilyn Satin Kushner and Kimberly Orcutt. Exh. cat., New-York Historical Society. New York and London, 2013, pp. 335–36.
Roberta Smith. "A Trans-Atlantic View of Modernism." New York Times (January 9, 2015), p. C30, ill. p. C25 (installation photo).
Daniel R. Schwarz. "Painting Williams, Reading Demuth: 'The Great Figure' and 'I Saw the Figure 5 in Gold'." William Carlos Williams Review 32, no. 1–2 (2015), p. 31.
Paul Cappucci. "'Improvisation' at the Armory Show: An Approach to Understanding Wassily Kandinsky's Influence on the Writings of William Carlos Williams." William Carlos Williams Review 32, no. 1–2 (2015), pp. 82–86, 92, 93 n. 5, fig. 1, calls it "The Garden of Love (Improvisation Number 27)".
Kathryn Calley Galitz. The Metropolitan Museum of Art Masterpiece Paintings. New York, 2016, p. 521, ill. (color), colorpl. 435.
Matthias Haldemann. Kandinsky. Munich, 2016, p. 74.
Phyllis Rose. Alfred Stieglitz: Taking Pictures, Making Painters. New Haven, 2019, pp. 125–26, colorpl. 12, calls it "The Garden of Love (Improvisation #27)".
The Metropolitan Museum of Art Guide. New York, 2019, p. 411, ill. (color).
Max Hollein. Modern and Contemporary Art in The Metropolitan Museum of Art. New York, 2019, ill. p. 19 (color).
Douglas Eklund, Marilyn F. Friedman, and Randall R. Griffey inMaking The Met, 1870–2020. Ed. Andrea Bayer with Laura D. Corey. Exh. cat., The Metropolitan Museum of Art. New York, 2020, pp. 166, 253, fig. 179 (color).
Vivian Endicott Barnett. "The Chicago Lawyer Arthur Jerome Eddy and His Eclectic Art Collection." Transactions of the American Philosophical Society 111, part 2 (2022), p. 4.
Vasily Kandinsky (French (born Russia), Moscow 1866–1944 Neuilly-sur-Seine)
1922
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