The beer garden was a a widely familiar motif in Central European painting of the 19th century, adopted from the French impressionist models. It offered, above all, a genre content as well as contrasting flickering light in the shadow of wild chestnut trees. The latter was, in the familiar hometown ambience of the Daneu Hotel at Štemarje, Škofja Loka, the starting point for Grohar, who approached it in a rather unconventional way. From the threshold of the entrance door he captured the dance of the natural phenomena in the garden abandoned by visitors surprised by a sudden summer shower, with the hostess failing to remove the tablecloths in time. The counter-light piercing the treetops is reflected in the puddles on tabletops and paints bright spots on the sandy ground. It flattens the tree trunks into silhouettes and beyond the wet shade of the garden dissolves the world so to speak out there in the open. Grohar adjusted his handling of paint to the ephemeral state of the weather conditions. Lumps of thick paint were laid on the canvas in quick, impulsive strokes of the palette knife. The painter ensured the unity of the painted surface paradoxically by a disorderly pattern of his brushstrokes. Although the painting has been dated to 1907, its surface is closer in character to the great winter paintings two years earlier.