Participating in the second exhibition were a number of noted Swedish artists at that time, including Leander Engström, Isaac Grünewald, Gösta Sandels, Birger Simonsson and Jolin who exhibited thirteen paintings. Two so dissimilar painters and tempers as Einar Jolin and GAN were both called Expressionists. During most of the 1910s this term was used in a number of contexts in Sweden. In 1915, the Herwarth Walden gallery Der Sturm in Berlin, a venue for Expressionists, presented an exhibition, "Schwedishe Expressionisten" (Swedish Expressionism), with works by Swedish artists. Jolin participated with six paintings, three of these were vistas from Stockholm. The rest of the participants were Isaac Grunewald, Edward Hald, GAN and Sigrid Hjertén. In the autumn of 1915, Jolin and GAN held a joint exhibition in Lund University's art museum. Despite their differences, their friendship continued during GAN's years in Stockholm (1916–1919). Jolin was tired of Isaac Grünewalds increasingly dominant role among the young Swedish artists at that time, a sentiment shared by GAN. Expressionism never became a dominant style for Jolin, not in the way GAN and other members of the group embraced it. GAN always objected to Jolin's choice to include colors such as pearl gray and light purple or violet in his paintings. During the years 1925–35, Jolin's style is characterized by light, soft, grey notes and pastels. Later on, still life featuring Oriental porcelain, preferably displayed on a reflecting mahogany tabletop, became a more common motif. He also painted numerous portraits of the Swedish socialites at that time. In the 1930s, Nils Palmgren, named a group of Swedish painters "The Purists", an expression originally coined by the French artists Amedée Ozenfant and Le Corbusier. Palmgren referred to painters such as Torsten Jovinge, Erik Byström, Wilhelm Wik and Helge Linden. But, according to Palmgren, Einar Jolin could also be called a Purist since he constantly stressed that colors should be kept pure, contours clear and the composition of the motif orderly. During his more than 70-year career, Jolin always followed his own path. Through his motifs, characteristic portrayals, still lifes and pictures of Stockholm, an observer can follow Jolin on his journeys to other cultures, explore the collected artifacts in his house or get acquainted with what Stockholm looked like during the first part of the 1900s.