When my abstract phase played itself out I returned to portraiture, the most complicated task a painter can receive. I decided to start from scratch. I studied the concept of symmetrical painting in perspective with the face of Kate Moss. I started to paint in colour realism just like I saw older colleagues after the war at the Academy of Fine Arts. I was very curious about the portraits of a hunter by Lucas Cranach, with simple drawings and a warm colour scale, Hogarth’s The Shrimp Girl and beautiful paintings from H. Matisse. Here were also my professors, Stupica’s portrait painting (L. Menaše, M. Pogačnik, M. Kraševec) and his idols El Greco, Goya, Velasquez, Soutine, Modigliani, Kokoschka. Other inspirations were exquisite sculpture portraits of my study colleagues (Jelisava Čopič, France Mihelič, N. Omersa, R. Debenjak) under mentorship of professor Zdenko Kalin and suggestive extremely minimalistic portraits of Branko Ružič.(2006)”
— Janez Pristavec, notes