A special moment in the life of Jaroslav Věšín was his military service in the Austrian army. In the regiment in Bratislava, where he served, besides the Czechs there were many Slovaks. Through them he discovered the charm and the wealth of colour of the Slovak village. Drawings and watercolours were born, later petit genre paintings on Slovak subjects.
Jaroslav Věšín became seriously interested in hunting scenes. An avid hunter himself, he joined the hunting parties of the Austrian Archduke Franz Ferdinand, at his invitation, with a commission to paint hunting scenes. A cycle of works emerged in which the artist expanded his talent for figural compositions.
Jaroslav Věšín’s colourful ethnographic compositions capturing the picturesque Slovak way of life, became his introduction into the international exhibitions of the Munich’s Glass Palace, which had opened in 1854 and had become the foremost venue for art exhibitions. These were organized by the Munich Artists’ Cooperative, royal privileged since 1868. The artistic style of this oldest association of free artists in Bavaria was distinguished by precision and naturalism that freed its signature history painting from the pathos of the previous centuries. Because of his ideological proximity to the Cooperative, between 1883 and 1909, Jaroslav Věšín was featured in eleven of its exhibitions. Later, he sympathized with the cluster that separated from the Cooperative (since 1901 – definitively), named after its founder, the Prince Regent of Bavaria Luitpold. Jaroslav Věšín felt an affinity with the aesthetics that prioritized the traditional genre of history painting – a bearer of national quintessence, with cautiously modern objectives and high artistic quality.