Yellow house with apple tree

Münter was a member of the Neue Künstlervereinigung München (N.K.V.M.) and co-founder of the painters' association Der Blaue Reiter. After the beginning of World War I, she reoriented herself artistically during a period of private and economic difficulties. In the 1920s, she attempted to connect with art movements such as New Objectivity, perfected her drawing skills, and reached a very productive creative period toward the end of the decade. During National Socialism, she withdrew due to repression and the lack of understanding shown towards her art, and was only rediscovered after the Second World War.
For a long time, Münter was mainly received as Wassily Kandinsky's companion and emotionally oriented, naive Blue Rider epigone. It is only since the 1990s that this view has been changing and the artist's genre-spanning, diverse, and independent oeuvre has been noticed.
Münter rescued a significant portion of Kandinsky's works through the World War II era. In 1957, she donated a selection of her own paintings, all of Kandinsky's works in her possession, and several paintings by the Blaue Reiter to the city of Munich.