Konrad Mägi’s Italian period is unanimously regarded next to Saaremaa as the second “big” period. After the summer of 1914 at Saaremaa Mägi had continuously been looking for new sources of inspiration, as painting two summers running on one island was for him a remarkably long period of absorption. Still, the possibility to gather new impressions did not arrive very soon, even though he accomplished several excellent works anyway. Mägi postponed several trips abroad because of different, incl. economic reasons and went painting for example at Otepää or Võrumaa. At the end of the 1910ies Mägi concentrated on starting of the “Pallas” school and having been elected there the first director, the school certainly got the majority of his time. Also the long trip abroad, which started in 1921, took him first on school business to Germany, more exactly to Berlin, Dresden and Munich. Even though he stayed in Germany for several months, he painted there nothing – he spent all of his time on visiting lecturers, acquiring of supplies for the school or visiting theatres and museums. Only at the end of December Mägi arrives in Rome, but after a first couple of days he writes home that “I’ve got the feeling as if I have returned home after several years” and “I feel myself wonderful, I have the desire to live and accomplish something – here I feel life has a meaning”. And really, Mägi, whose life and creation had been quite nervous during the last couple of years, starts to accomplish in Italy such works of which Evi Pihlak says that “while comparing with the previous creative period the works which have been accomplished in Italy, seem to be much more harmonious and balanced”. Still, Mägi does not loose here any of his dynamics and dash, his paintings are still extraordinarily powerful, “also their painting manner is agile and impetuous”. For the first time into the creation of Mägi are introduced powerfully exotic architectural motifs, which give the possibility to experiment with forms and adding of new hues. Mägi, who is still in the first range a superb colour handler, does not throw onto the canvas dozens of colour dots anymore, but he takes some prevailing colours and moves among these. But oddly he can make it very much alive – “an intense convulsiveness, which could have been detected in the last works, which were accomplished at home, is now gone”, writes Pihlak. “Cheerful and sensitive note, which meanwhile started to disappear from works by Mägi, re-appears.”