Standhaftes Grün was painted in April 1925, just as the Bauhaus in Weimar closed down. In June Kandinsky moved to Dessau where the Bauhas was relocated. "The Bauhaus provided a context in which a range of artistic points of view were allowed to flourish, within the parameters of a commitment to geometric forms and structural principles. Here, as elsewhere, in Europe where abstract art was developing in the teens and twenties, it was believed that geometry provided a universal language." (C. Polinq, Kandinsky: Russian and Bauhaus years, New York, 1983, p. 49.) Kandinsky contributed to this artistic debate and the formulation of his own artistic evolution with a series of articles. In 1925 these were expressed in the book Punkt und hinie zu Fläche (Point and Line to Plane), published just after the move to Dessau but embodying the theories finalised in Weimar. The paintings of the year, such as Standhaftes Grün are closely related to the theoretical formulations of the book: "Tatsächlich war dies ja die Zeit unmittelbar vor der Niederschrift des Manuskriptes, die er im Sommer und Herbst desselben Jahres, gleich nach dem Umzug nach Dessau, vornahm. 1923 hatte Kandinsky mit der Uberarbeitung der Goldbacher Notizen von 1914 begonnen, so dass ihn das Vorhaben neben dem gleichzeitigen Unterricht und der Malerei beschäftige. Er scheint die Bilder der letzten Monate in Weimar schon im Sinne seiner theoretischen Uberlegungen entworfen zu haben, und der didaktische Charakter einiger von ihnen kann dieser Hauptbeschäftigung zugeschrieben werden." (Exhibition catalogue, Zürich, 1986, p. 48)

Standhaftes Grün is recorded as no. 304 in the artist's Handlist II where it is dated April 1925.