Eugen Buktenica, a naive painter, belongs to the great generation of Croatian painters. Buktenica was born on 28th of November, 1914, in Grohote on Solta. He started painting in 1946. His first exhibit was in 1950 on Solta, and it is followed by a number of exhibits in the country and abroad (Zagreb, Hamburg, Munchen, New York, Sao Paolo, Amsterdam, Warsaw, etc.)

Marin Kalajzic is another naive painter from Grohote. Born in 1911, he did not start painting until 1979 when he retired. His work is inspired by Solta where he lived all of his life. Split, Zagreb, Rijeka, and Rogoznica are some of the cities where his work has been shown to the public. He is a member of the Croatian Society of Naive Painters.

The third naive painter on Solta who appeared the least in public with his works is Dinko Sule from Grohote, where he was born 1953 and where he lives and works. He started to paint 1987 as a member of art and literary section of the Workers cultural association "Jugoplastika". At the same time he writes poetry. He has been exibiting on several exibitions both single and collective. Dinko Sule is consistent naive painter from village, relatively from island. Motives of his oil paintings (on canvas) are characteristic misery island landscape in which dominates stone, south flora and the sea. He devotes attention to rustical stone building from "lime-hiln" to village house, equaly to interior of rural-fishing home. Sule represents life and works of peasants and fisherman of his island without trying to enter in dangerous waters of professional painting. Special characteristic of his art is expressionism of drawing and colour, so authentic works of that rustic naive painter have some stylistic relationship with canvas of great Van Gogh. Dinko Sule is put with members of naive school on Solta. The word is about painter who plays on that heavy acrobatically wire above possible abyss or flying up. He isn't naive nor free of it, but moves off it. He enters in space of greater creative request cleaned of simple expresses, and he works. It proofs seemingly lonely houses, fulled of stories, put in order from the sky with their opened breast they bring centuries of living. Dinko's drawing exposes native joy for discoveries resulted from easy opservation, so detail assumes a volume of wonder. The problem of priority of his drawings above the colour he solves very elegant, without falling in trap to colourate the drawing. Local colour is not the one who leads the game, but is very disposed "sekondo" in the act of creation. There is no doubt the painting of Dinko Sule deserves respects, if not for anything else, then for great promisses that it offers. We should emphasize Dinko's sensitivity which really characterises and separates him in this group of Solta's naive art. If Buktenica is a painter of that penetrating and intensive sunny light, which surrounds things and fills out every small piece of landscape, just as in works of prerenaissance painter masters, then Sule is a painter of refined greyness and evening twilight. That simplicity and balance of composition gives us feeling of orientation in narative layer of a picture. The colour more close to natural state of painted motives, showes atmosphere of heaviness and easiness of Island life. Sensitivity, with stressing on symbolism and mysticism in atmosphere, in dead natures and genre-scenes discoveres closeness and identification of painter with his motives and models. Simply spontaneously and sincerely with a lot of spirit Sule talks about Solta, and builts his own syllable with rare general signs of naive, of which eye of the modern man is used to. And while his images in composition and drawings follows the line of naive his local colour seems to lengthen to strong tradition of Dalmatian painting of our time. Isn't necessary to say that Dinko Sule is poet too and Solta gets new compliment of her beauty in his poems and pictures?