Jama’s portrait of this fair city slicker was produced before the painter left for Munich, where he ended up staying for a significant period. The artist deliberately sought out social contacts with urban elites, hoping to secure for himself a circuit of useful clients. In this painting, the subject was one of Jama’s peers, who would go on to own quite a few of the painter’s works. Immaculately garbed in a three-piece suit with black collar, hair combed to perfection, the subject is reclined comfortably in an armchair before a pinkish wall, holding a thick cigar between the fingers of his left hand, which is casually draped over his knee as he suddenly turns to talk to someone on the left side of the painting. We have before us a true lounge lizard from one of the wealthiest families in Ljubljana at the time. His rich inheritance and family background give him the social status and licence not to even have to look at the viewer and it is this privilege of informality that speaks the loudest in the subject’s portrayal. Jama had to use a photograph on which to base his work, as he could not have placed the subject in such a transient pose for long enough. Three years later, when Sternen announced his intention to sue Souvan for not paying his bill, Jama said that it would reveal how hollow Souvan was on the inside. There is no doubt that Jama was familiar with the typologically and stylistically similar portrait of painter Carl Strathmann, depicted in 1895 by Lovis Corinth. In a similar manner, Jama produced with this modern, dynamic painting one of the finest portraits in Slovenian art before World War I.