"Jungfrau im Baum" ties on the motive "Le cattive madri" (1894) by Giovanni Segantini. The picture was influenced by grotesque lyric poetries of Alfred Jarry, Max Jacob and Christian Morgenstern. It features a cultural pessimism, which can be found at the turn of the 20th century in works by Symbolists. The Invention Nr. 6, the 1903 etching "Zwei Männer, einander in höherer Stellung vermutend" (Two Men, Supposing the Other to be in a Higher Position), depicts two naked men, presumably emperor Wilhelm II and Franz Joseph I of Austria, recognizable by their hairstyle and beards. As their clothes and insignia were bereft, "both of them have no clue if their conventional salute […] is in order or not. As they assume that their counterpart could have been higher rated", they bow and scrape. Klee began to introduce a new technique in 1905: scratching on a blackened glass panel with a needle. In that manner he created about 57 Verre églomisé pictures, among those the 1905 "Gartenszene" (Scene on a Garden) and the 1906 "Porträt des Vaters" (Portrait of a Father), with which he tried to combine painting and scratching. Klee's solitary early work ended in 1911, the year he met and was inspired by the graphic artist Alfred Kubin, and became associated with the artists of the "Blaue Reiter". During his twelve-day educational trip to Tunis in April 1914 Klee produced with Macke and Moilliet watercolor paintings, which implement the strong light and color stimulus of the North African countryside in the fashion of Paul Cézanne and Robert Delaunays' cubistic form concepts. The aim was not to imitate nature, but to create compositions analogous to nature's formative principle, as in the works "In den Häusern von Saint-Germain" (In the Houses of Saint-Germain) and "Straßencafé" (Streetcafé). Klee conveyed the scenery in a grid, so that it dissolves into colored harmony. He also created abstract works in that period such as "Abstract" and "Farbige Kreise durch Farbbänder verbunden" (Colored Circles Tied Through Inked Ribbons). He never abandoned the object; a permanent segregation never took place.