Ivan Grohar: SpringBefore Grohar had turned to Impressionism, he painted portraits and rural themes, and towards the end of 19th century achieved great success as a painter of altar images.
Besides religious paintings and portraits, he also devoted himself to genre and painted several symbolist compositions and by following Giovanni Segantini, he fashioned his own style. Later he chose landscape over genre painting. His "Pomlad" (The Spring) was best received at the exhibition in the Miethke salon in 1904.
A year later he began to create a series of large paintings, mostly with motifs from the Škofja Loka region, using a palette knife. After "Sejalec" (The Sower) the critics associated him as an integral part of the Slovenian identity and Grohar's landscapes became the symbols of the homeland. His style changed a little once again and pure landscapes gave way to monumental themes of peasant labour. The best known of Grohar's paintings are: "Pod Koprivnikom" (Below Koprivnik, 1902), "Grabljice" (The Raking Women, 1902), "Pomlad" (The Spring, 1903), "Macesen" (The Larch, 1904), "Škofja Loka v snegu" (Škofja Loka in Snow, 1905), "Sejalec" (The Sower, 1907), "Štemarski vrt" (The Štemarje Garden, 1907), "Kamnitnik" (The Kamnitnik Hill, 1909) in "Črednik" (The Herdsman, 1910).
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