The Bathers (Kopalci) is a somewhat different painting, as its format makes it an oversize study of a motif that is interesting because of contemporary experience. Jakopič’s estate preserved photos of nude men swimming in the Gradaščica Stream or in the clay pools of Kern in Trnovo. There is also a study found among his sketches, which the artist faithfully reproduced in the painting. The figures in the foreground are depicted in motion, a feature that intensifies from the three illuminated characters on the right towards the fourth, who is jumping into the water. The view past the shaded foreground onto the illuminated characters and the landscape of the Ljubljana marshes beyond them was a common device used to construct convincing spatial depth. The painting strokes are intense, unbridled, and ecstatic. Expressively bent limbs of the young men are vague in their execution, serving to create a candid impression of the moment in motion. Jakopič did not develop this motif any further, but he did spend two decades studying choreography and the expression of body and appendages, which he applied in a fashioning his large painting The Blind Man (Slepec) from the middle of the 1920s.