M. Pirnat described a painting with such a title in 1911 in his room in Štemarje immediately after the painter’s death. However, he was not looking at a winter landscape. We can identify this very painting in a report on the Jakopič Pavilion opening exhibition by Josip Regalli two years earlier. The two paintings might have shared the title but not the motif. The view was taken lower down the Sora River from the Puštal bankside. Grohar probably used the window frame as a tool for framing of the motif. and for the viewer thus devised his psychological entrance into the winter landscape glowing in the yellow light of the late afternoon sunlight. He strived for the emotional experience that can be retriggered by the painting any time. It is like an interiorized image of the world beyond the window frame, reflected by emotions. The painting is usually dated 1905 because of the winter motif and the manner of paint handling, still improvised and emotionally heightened, but with brushstrokes that integrate the surface in every direction into a uniform membrane. Contemporary critics, his closest colleagues among them, interpreted the overpowering effect of colour over light as Grohar’s lack of sensitivity. Today we understand precisely that property as the modernist tendency towards the emancipation of colour, colour relieved of referentiality that reached its culmination in the Sava landscapes of Rihard Jakopič two decades later.