This experimental painting was painted on a stiff pasteboard and was preserved in Jakopič’s estate until the National Gallery purchase endowed by the Bruno Breschi Foundation. In the interpretation devised by Zoran Kržišnik in 1970 it became the cornerstone of the argument for Jakopič’s early tendency towards abstract art. Its composition originated in the painting Poplars in the Morning Sunlight (1901), which Jakopič still made use of in the painting of 1912, The Poplars. It stands at the end of a series of extreme reduction of the motif, where the barely visible treetops determine the orientation of the otherwise radial composition without a horizon line. Jakopič’s experimental enthusiasm grew after seeing the exhibition Impressionism in Painting and Sculpture in the Vienna Secession in February, 1903.There he could see the systematic neoimpressionist brushwork as well as the palette of bright colours, which he combined in his own way thereafter into highly subjective expressive organisms. The gaze directly at the sun, perhaps borrowed from Van Gogh, had become his staple. If we compare Jakopič’s emphatic experience of the natural phenomenon with the somewhat similar painting by Robert Delaunay, the latter took the motif with a sober distance.