Albert Bloch’s return to America in 1919 marks the mature phase of his career. He began to explore more introspective subject matter using a muted palette to transform the world around him, often with greater application of white. This wintry scene illustrates the visionary approach of this period with a quaint village beckoning from the top of a winding path. As Henry Adams observes, Bloch used white to evoke the spiritual: “In Bloch’s hand, this use of white gives the forms in his late pictures an evanescent quality, as if they were not real things, but spiritual essences, or perhaps, elusive memories” (Albert Bloch: The American Blue Rider, 1997, p. 49).