In 1929, Bluemner playfully adopted “The Vermillionaire” as a pseudonym and identified the color red as his alter ego. He described color as “an agent of expression intellectually and emotionally” with red as “the maximum of everything artistic.” Featuring a vermillion building, Moonlight Fantasy marks an important transitional moment in his body of work from the earlier spiritual investigations in the “Sun and Moon” series along with works shown at the Whitney Studio Galleries, and the later technical experimentation and musical references in the paintings created for the important final exhibition, Compositions for Color Themes, at Marie Harriman Gallery in 1935. Set in Bloomfield, New Jersey, Moonlight Fantasy stands out among the earliest and largest of the new caseins. Bluemner incorporated new materials to make the work more durable and luminous, and aimed to create “waterproof watercolors” by mounting heavy paper on board and using casein and formaldehyde sealants to fortify the pigments. This period is distinguished by increased experimentation, a bolder artistic vision, and three major solo exhibitions that were favorably received. Scholar Jeffrey R. Hayes observed, “In his late painting, Bluemner’s mind and eye combine to form his most powerful testimony as an artist.”