In Trieste in the autumn of 1907, Grohar displayed his large painting The Sower (Sejalec) after 2 years of working on it, the last of his large pointillist works, foreshadowed by Spring (Pomlad) in 1903. He spent four months in Belgrade at the beginning of 1907, painting together with Nadežda Petrović. Perhaps under her influence, but certainly after the cold welcome Slovenian impressionist paintings received in Poland at the beginning of the following year, his palette began migrating towards blue and purple hues, and his strokes became longer, more confident and decisive. His choice of motifs also reflects this return to his symbolist beginnings within secession art, shown in the decorative bands ondulating into space. A Hillock (Hribček) is one of his panoramas of the landscapes north of Škofja Loka, where Mt. Križna Gora rises above the rugged ridge. Grohar forewent any descriptive detail, making the painting all the more abstract, and the work’s formative elements take preeminence in design of the painted surface. The piece is sometimes found at exhibitions under the name Buckwheat (Ajda), until it was purchased posthumously by the central commission for the Provincial Museum of Carniolia.