Jakopič worked hard towards the Secession exhibition of 1905, when the architect Jože Plečnik had negotiated invitations for Slovenian painters. The painting Winter is one of the most exact indicators of his artistic intentions after studying impressionism in the exhibition in the Viennese Secession in 1903. Close up the painting reveals methodical application of the divided palette, while it negates the impressionist precepts by its sheer size. As for Ivan Grohar, for Jakopič as well an important painting could only be a large studio format intended for a gallery wall. He did not have that sort of painting in mind decades later when he claimed that the programme of Slovenian impressionism was completed in 1904. In the earliest attempts the hierarchy of studies, small outdoor paintings and salon paintings was clear, supported by conviction that an experience captured in an outdoor study could be transferred into large format in the studio. The paintings of comparable size afterwards followed only exceptionally. In every single case they were iconographically complex creations, while in the genre of landscape the only comparable endeavours occurred in the Sava River gravel bed of the mid-1920s, when he reached towards gestural abstract painting.