In accounts of the painting of Ljubo Ivančić, it is always and without exception put into a locality. The allusions to the artist’s Mediterranean roots in fact almost always endeavour to fence in his art through this geographical contextualisation. There has been an attempt to close it off genealogically as well: its forebears are always quoted, thus Vidović and Tartaglia, the closest, and then Job and Plančić in perfunctory excurses into colourism and themes. These ancestors have only served to back up the assumed geographical rootedness of Ivančić’s painting, providing indirect confirmation of his Dalmatian background. However radically different Vidović, Tartaglia, Job and Plančić were from each other, their inherited components were recognised here through the deviation. Ivančić, that is, never accepted literally what he had come into, which is in a sense quite intelligible, considering his own individual weight.