top of page
Paintings
1870 - 1892
Emanuel Vidovic, one of the most famous and greatest Croatian painters, was born in Split on December 24th, 1870. Vidovic was born at Sperun, in the heart of Veli Varos, where his modest native house and home of his childhood is still visible today, behind the church of St. Francis, at the beginning of Senjska ulica.
Veli Varos, the outskirts of Split at the time, was a suburban area with small stone houses, green courtyards and narrow streets, where poor people, fishermen and peasants, used to live. Baptized in the Church of the Holy Cross in Veli Varos, Emanuel spent his childhood in picturesque surroundings, close to the port of Split, the old shipyard and the small fishermen’s harbour “Matejuška”. Having lived in a poor family and in the poor neighbourhood, Emanuel Vidovic has always remained a painter of “small people”, fishermen, peasants, narrow alleys, old churches and his modest ateliers.
Memories and impressions of his childhood and old ambiences of Split and Trogir, where he used to spend his summer holidays, will have a significant impact on his artworks in later years of his life.
In 1877, when Emanuel was only six years old, his father Ivan died. The same year he began attending elementary public school, after which he enrolled at the Royal high school in 1881. Uninterested in schoolwork, in 1894 he dedicates himself to drawing, and, finally, in 1886 he leaves school to study drawing privately, preparing himself for the admission exam at the Venetian Academy of Fine Arts.
In 1887, he is enrolled in sculpture department at the “Accademia di Belle Arti” in Venice, but just 2 years after he dedicates himself to painting, inspired by landscape painters and older colleagues. Unhappy with conservative approach, in 1890 Vidovic leaves Academy and starts painting landscape and interior of St. Mark’s Cathedral. Hungry and homeless, but firm to become a painter, he refuses to turn back home in Split and remains in Venice.
Veli Varos, the outskirts of Split at the time, was a suburban area with small stone houses, green courtyards and narrow streets, where poor people, fishermen and peasants, used to live. Baptized in the Church of the Holy Cross in Veli Varos, Emanuel spent his childhood in picturesque surroundings, close to the port of Split, the old shipyard and the small fishermen’s harbour “Matejuška”. Having lived in a poor family and in the poor neighbourhood, Emanuel Vidovic has always remained a painter of “small people”, fishermen, peasants, narrow alleys, old churches and his modest ateliers.
Memories and impressions of his childhood and old ambiences of Split and Trogir, where he used to spend his summer holidays, will have a significant impact on his artworks in later years of his life.
In 1877, when Emanuel was only six years old, his father Ivan died. The same year he began attending elementary public school, after which he enrolled at the Royal high school in 1881. Uninterested in schoolwork, in 1894 he dedicates himself to drawing, and, finally, in 1886 he leaves school to study drawing privately, preparing himself for the admission exam at the Venetian Academy of Fine Arts.
In 1887, he is enrolled in sculpture department at the “Accademia di Belle Arti” in Venice, but just 2 years after he dedicates himself to painting, inspired by landscape painters and older colleagues. Unhappy with conservative approach, in 1890 Vidovic leaves Academy and starts painting landscape and interior of St. Mark’s Cathedral. Hungry and homeless, but firm to become a painter, he refuses to turn back home in Split and remains in Venice.
Art: 1887 – 1892
Leaving the Academy, Vidovic decided to learn and paint alone, appealed by the motifs of the Venice Lagoon, narrow and modest streets, canals, squares, bridges, churches and galleries. In 1891, he paints the interior of St. Mark’s Cathedral, but, unfortunately, none of the works from this earliest period of his painting has ever been revealed.
1892 - 1897
In 1892, he leaves Venice and moves to Milan, hoping to find a job and lodging, which would allow him to dedicate more time to painting. From 1892 till 1894 he works first as a restorer and, later, as a drawer at the large furniture factory. During his stay in Milan, he regularly attends the "Famiglia artistica" society to improve his drawing skills.
In 1894 (paradoxically, from Milan and not from Venice!) he discovers Chioggia: together with other painters, he travels from Milan to paint the landscape and motifs of a picturesque fishing village at the edge of the Venice Lagoon. The same year, for the first time, he exhibited a painting with a motif of “Venetian fishing life” at the “Esposizioni Riunite” in Milan, alongside the greatest Italian painters of that period, Giovanni Segantini and Ettore Tito. Next year, he exhibits two paintings, with similar Venetian motifs, at “Esposizioni permanenti” in Milan.
After 8 years in Italy, in 1895 he returns to Split. Returning to Split, he finds a favourable cultural climate, due mainly to the enthusiasm of young Croatian intellectuals, painters, writers and musicians. Influenced by the Modern Art movement, these will particularly emphasize lyrical and symbolic components of art. In 1896, Vidovic exhibits his first painting in his homeland, at the shop window of the “Ševeljevic’s fashion salon” at the main square in Split, which caused great public and press interest.
In 1894 (paradoxically, from Milan and not from Venice!) he discovers Chioggia: together with other painters, he travels from Milan to paint the landscape and motifs of a picturesque fishing village at the edge of the Venice Lagoon. The same year, for the first time, he exhibited a painting with a motif of “Venetian fishing life” at the “Esposizioni Riunite” in Milan, alongside the greatest Italian painters of that period, Giovanni Segantini and Ettore Tito. Next year, he exhibits two paintings, with similar Venetian motifs, at “Esposizioni permanenti” in Milan.
After 8 years in Italy, in 1895 he returns to Split. Returning to Split, he finds a favourable cultural climate, due mainly to the enthusiasm of young Croatian intellectuals, painters, writers and musicians. Influenced by the Modern Art movement, these will particularly emphasize lyrical and symbolic components of art. In 1896, Vidovic exhibits his first painting in his homeland, at the shop window of the “Ševeljevic’s fashion salon” at the main square in Split, which caused great public and press interest.
Art: 1892 – 1897
Dry and light atmosphere of a big industrial city, its frenetic life and unfamiliar painting school, did not attract and inspire Vidovic to paint Milan landscape and motifs. Thus, each year, he travels from Milan to Chioggia, picturesque and colourful small fishermen’s village near Venice, appealed by deep colours of autumn, rainy days and sunsets.
Lombard art made no significant impact on his painting. His stay in Milan, though, brought him in contact with Italian divisionists from whom he learned the new technique of dot painting, soon adapting it to suit his own vision. Apart from the individual and original art of Giovanni Segantini (whose divisionism technique will briefly inspire Vidovic), all the other "influences" derive from Italian “macchiaioli” and Venatian landscape painters, classics Guardi and Canaletto, and, Vidovic contemporaries Ettore Tito, Giacomo Favretto and Pietro Fragiacomo.
Already in this period, Emanuel Vidović presented a dual image of the real world: the first one embedded in realism and verism, and the other one in symbolism and vision. His initial paintings are small “landscape studies” (sketches) on wood and/or cardboard, painted outdoors, in plain-air, with casually applied dots of pure and bright colours, or blotches of dark colours further darkened with grey (influence of Italian "macchiaioli” and “veristi”). Along with the small sketches, Vidovic makes the medium-large size canvases on oil, made at the atelier (mainly landscapes at sunset and themes from literature). Some of these melancholic, romantic dusks and dawns already reflected the spirit of symbolism.
Lombard art made no significant impact on his painting. His stay in Milan, though, brought him in contact with Italian divisionists from whom he learned the new technique of dot painting, soon adapting it to suit his own vision. Apart from the individual and original art of Giovanni Segantini (whose divisionism technique will briefly inspire Vidovic), all the other "influences" derive from Italian “macchiaioli” and Venatian landscape painters, classics Guardi and Canaletto, and, Vidovic contemporaries Ettore Tito, Giacomo Favretto and Pietro Fragiacomo.
Already in this period, Emanuel Vidović presented a dual image of the real world: the first one embedded in realism and verism, and the other one in symbolism and vision. His initial paintings are small “landscape studies” (sketches) on wood and/or cardboard, painted outdoors, in plain-air, with casually applied dots of pure and bright colours, or blotches of dark colours further darkened with grey (influence of Italian "macchiaioli” and “veristi”). Along with the small sketches, Vidovic makes the medium-large size canvases on oil, made at the atelier (mainly landscapes at sunset and themes from literature). Some of these melancholic, romantic dusks and dawns already reflected the spirit of symbolism.
1897 – 1906
In 1897, he returns to Chioggia. In the same year, he exhibits 9 paintings at the international exhibition in Copenhagen, where Croats exhibited in the pavilion "Croatia", apart from other Austro-Hungarian monarchy artists, which was an unprecedented success. By the end of 1897, he intensively paints landscapes of Chioggia and Venice, to return in Split in 1898. On his return, he opened his first atelier in Split. In that period, he paints in the surroundings of Split, in Vranjic and Solin, where a number of important works, such as “Houses at Tusculum” and three versions of “Vranjic”, arise.
At the beginning of 1899, he marries to Amalia Baffo in Chioggia. After the wedding, they return to Split, where their first child Slavan is born at the end of the year. With the foundation of the “Literary and Arts Club” in 1900, city of Split is involved in contemporary events and Modern movement. The members of the Club are great writers, painters, sculptors and architects, who, throughout their work, arise the cultural and artistic life of Split above the provincial frames and set it alongside the one in Europe. The Club, led by the writer Ivo Vojnović, gathered a number of writers, such as Ante Tresic Pavicic, Vladimir Nazor, Milan Begovic, Bozo Lovric and Dinko Simunovic; painters Emanuel Vidovic, Josip Lalic, Ante Katunaric, Andjeo Uvodic and Virgil Meneghello-Dincic; sculptors Ivan Mestrovic, Toma Rosandic and Branislav Deskovic; and architects Emil Vecchietti, Ante Bezic and Kamilo Toncic. Emanuel Vidovic is one of the most agile members of the society in the vast field of cultural and art promotion.
In 1901, in the foyer of the Split "Public Theatre", together with the painter Josip Lalic, Emanuel Vidovic sets up his first big exhibition. Along with oils, Vidovic exhibited also his caricatures, and thus, he is considered the founder of the caricature in Split and in Dalmatia. In 1903, he exhibits in Prague and, at the end of the year, at his first solo exhibition in Split. Only a month later, on his own expense, Vidovic arranges another solo exhibition, in Zagreb. At the end of 1904, he participates at the “First Yugoslav exhibition” in Belgrade where he achieves an unexpected success. In the same year, at the "Hagebund" exhibition in Vienna, he presents a large oil called “L'ora che volge il desio (Dante)”, thanks to which he gets the attention of the Vienna press. In 1905, at the "Jubilee Exhibition of Art Society" in Zagreb, emperor and king Franz Joseph I of Austria purchases his painting “The city is awakening”. From the royal treasury books it appears that Vidovic is in 2nd place of pay offs, testifying somewhat about the painter's appreciation and his reputation at the time.
In spite of selling a few paintings, suppressed by social difficulties, he decides on a new trip to Chioggia, where he moves with his family by the end of 1905, to the family home of his wife. In central Italy, where he visited the settlement of Molise Croats (regions of Abruzzo and Molise), he made his last great work in trace of Italian tradition of “open air” painting, the great “Mundimitar”. Together with his family, he remains in Chioggia until the spring of 1906, still with the unsolved existential problem.
At the beginning of 1899, he marries to Amalia Baffo in Chioggia. After the wedding, they return to Split, where their first child Slavan is born at the end of the year. With the foundation of the “Literary and Arts Club” in 1900, city of Split is involved in contemporary events and Modern movement. The members of the Club are great writers, painters, sculptors and architects, who, throughout their work, arise the cultural and artistic life of Split above the provincial frames and set it alongside the one in Europe. The Club, led by the writer Ivo Vojnović, gathered a number of writers, such as Ante Tresic Pavicic, Vladimir Nazor, Milan Begovic, Bozo Lovric and Dinko Simunovic; painters Emanuel Vidovic, Josip Lalic, Ante Katunaric, Andjeo Uvodic and Virgil Meneghello-Dincic; sculptors Ivan Mestrovic, Toma Rosandic and Branislav Deskovic; and architects Emil Vecchietti, Ante Bezic and Kamilo Toncic. Emanuel Vidovic is one of the most agile members of the society in the vast field of cultural and art promotion.
In 1901, in the foyer of the Split "Public Theatre", together with the painter Josip Lalic, Emanuel Vidovic sets up his first big exhibition. Along with oils, Vidovic exhibited also his caricatures, and thus, he is considered the founder of the caricature in Split and in Dalmatia. In 1903, he exhibits in Prague and, at the end of the year, at his first solo exhibition in Split. Only a month later, on his own expense, Vidovic arranges another solo exhibition, in Zagreb. At the end of 1904, he participates at the “First Yugoslav exhibition” in Belgrade where he achieves an unexpected success. In the same year, at the "Hagebund" exhibition in Vienna, he presents a large oil called “L'ora che volge il desio (Dante)”, thanks to which he gets the attention of the Vienna press. In 1905, at the "Jubilee Exhibition of Art Society" in Zagreb, emperor and king Franz Joseph I of Austria purchases his painting “The city is awakening”. From the royal treasury books it appears that Vidovic is in 2nd place of pay offs, testifying somewhat about the painter's appreciation and his reputation at the time.
In spite of selling a few paintings, suppressed by social difficulties, he decides on a new trip to Chioggia, where he moves with his family by the end of 1905, to the family home of his wife. In central Italy, where he visited the settlement of Molise Croats (regions of Abruzzo and Molise), he made his last great work in trace of Italian tradition of “open air” painting, the great “Mundimitar”. Together with his family, he remains in Chioggia until the spring of 1906, still with the unsolved existential problem.
Art: 1897 – 1906
In this period, Vidovic only briefly paints landscapes of Split, Solin and Vranjic, strictly realistically. These realistic paintings (The Houses at Tusculum, The Fall of Solinčica and three versions of Vranjic) are most probably influenced by strong friendship with Dom Frane Bulić and his preferences. The paintings emerge with a new line, fast and free; they are materially coloured and live graphically.
The most important works from this period, however, arise in Venice, on canals, at the midday light, and with the purest impressionist palette ever seen in Croatian painting (I. Zidić). Around 1900, there is a noticeable change in his painting: the widespread moves replace strikes and splodges; the vibrant atmosphere of the lagoon is suppressed by metaphysical mirrors; mainly deserted landscapes at dusk, with no voice or gesture.
In 1903, with the “Visions of Split” Vidovic returns to impressionist interpretation, however, with no trace of Venetian material density and blinking of the surface.
In 1904, visiting the settlement of Molise Croats in central Italy, he made his last great work in trace of Italian tradition of “open air” painting, sunny “Mundimitar”, using clear Impressionist palette with colours applied in free dots. In the same year, Vidovic paints the masterpiece diptych “Little World” ("homage a Segantini"). It is a never-repeated experiment, a slightly stylized landscape made with divisionism pointillist technique, performed with pure colours applied in dotty and spiky strokes.
At the end of this period, Vidovic restricts his palette to monochrome, where both, the sky and the sea become the same.
The most important works from this period, however, arise in Venice, on canals, at the midday light, and with the purest impressionist palette ever seen in Croatian painting (I. Zidić). Around 1900, there is a noticeable change in his painting: the widespread moves replace strikes and splodges; the vibrant atmosphere of the lagoon is suppressed by metaphysical mirrors; mainly deserted landscapes at dusk, with no voice or gesture.
In 1903, with the “Visions of Split” Vidovic returns to impressionist interpretation, however, with no trace of Venetian material density and blinking of the surface.
In 1904, visiting the settlement of Molise Croats in central Italy, he made his last great work in trace of Italian tradition of “open air” painting, sunny “Mundimitar”, using clear Impressionist palette with colours applied in free dots. In the same year, Vidovic paints the masterpiece diptych “Little World” ("homage a Segantini"). It is a never-repeated experiment, a slightly stylized landscape made with divisionism pointillist technique, performed with pure colours applied in dotty and spiky strokes.
At the end of this period, Vidovic restricts his palette to monochrome, where both, the sky and the sea become the same.
1906 – 1920
At the end of May 1906, finding no solutions, he moves with his family to Solin. With no job, apartment, atelier and clients, he settles in the old mother’s family house. In front of the house, under the big old tree, he improvises an “open air” studio. From the old bridge over the Jadro river, he paints landscapes with magnificent sunsets. In this period, beneath the same old tree, Vidovic painted the monochromatic masterpiece “Angelus”, the first painting of the Croatian modern art and the anticipation of the European Abstract Art. In 1906, he exhibits at the international exhibitions in Milan, London, Sofia and Zagreb.
In the autumn of 1907, he returns to Split and settles with his family first in Veli Varoš and then in Matošićeva Street no. 9, just few steps from his native house, in the area of his childhood. Nearby, in the old theatre at Prokurative square, Vidovic rents a room and arranges his new art studio. In 1908, the city of Split is flourishing: "Croatian House", the secessionist building of architect Kamilo Toncic is opened; after two decades the renovated bell tower of St. Domnius cathedral is revealed, the "First Dalmatian art exhibition" is officially opened at the premises of the “Croatian house” and the satiric magazine “Duje Balavac” is launched ...
Emanuel Vidović is the co-founder of the magazine and also the caricaturist, together with other 2 painters from Split, Ante Katunarić and Virgil Menghello-Dinčić. The “First Dalmatian art exhibition”, initiated by Vidovic, was a great success: a large echo of domestic and foreign press, 7,000 visitors (in the city of 18,000 inhabitants) and a good number of paintings sold. In December 1908, the Croatian Art Society "Medulić" is founded. The nominal president of the society is Vlaho Bukovac and his deputy, actually, the real president, is Emanuel Vidović. In 1909, Vidovic is appointed a professor of drawing at the “Crafts School” in Split and thus solved the basic existential worries. At the end of the year, "Medulić" society organizes a large exhibition in Ljubljana. In 1910, Vidovic returns to Italy, and, at the end of the year, “Medulic” arranges another great exhibition in Zagreb. 1912 is the last year of edition of “Duje Balavac” magazine. In the summer of the same year, Vidovic travels for the last time to Chioggia and Venice. In that occasion, he made a large number of paintings, especially of smaller formats, at the outskirts of Chioggia, in the swamps and by the abandoned peasant houses.
During World War I, he withdraws to his new atelier, arranged in the great hall of the abandoned Public theatre’s restaurant. In 1915, his ninth and last child was born, son Igor, whose sudden death of “Spanish flu” will put the painter into depression. Emanuel Vidovic will remain at the theatre’s studio until 1919, when, with the last group exhibition of “Medulić” society, the artistic life in Split is restored. On the ramparts near the theatre, Emanuel Vidovic arranges his new atelier.
The Medulic’s "Exhibition of Yugoslav Artists from Dalmatia", like many other after-war exhibitions, had a political-propaganda character. This one was a protest against Italian imperialism, an opposition to Italian propaganda about the indivisibility of Dalmatian art and culture from Venice. Italy appropriated most of the Croatian coast at the time and such a manifesto and protest of Dalmatian artists, headed by the world famous sculptor Ivan Meštrović, was needed, especially with regard to the allied fleet, anchored in Split at the same time. Vidovic not only participated with his works at the exhibition, but also contributed most to its organization. In the same year, “Medulić” will arrange a great solo exhibition of Emanuel Vidović in Split. In the next 3 years, this exhibition, with minor changes, is assembled in Zagreb, Belgrade and Osijek. At the end of 1919 / beginning of 1920, Vidovic arranges his new atelier at the attic of former City Council, the one where he stayed the longest (till 1941 / 1942, beginning of the World War II).
In the autumn of 1907, he returns to Split and settles with his family first in Veli Varoš and then in Matošićeva Street no. 9, just few steps from his native house, in the area of his childhood. Nearby, in the old theatre at Prokurative square, Vidovic rents a room and arranges his new art studio. In 1908, the city of Split is flourishing: "Croatian House", the secessionist building of architect Kamilo Toncic is opened; after two decades the renovated bell tower of St. Domnius cathedral is revealed, the "First Dalmatian art exhibition" is officially opened at the premises of the “Croatian house” and the satiric magazine “Duje Balavac” is launched ...
Emanuel Vidović is the co-founder of the magazine and also the caricaturist, together with other 2 painters from Split, Ante Katunarić and Virgil Menghello-Dinčić. The “First Dalmatian art exhibition”, initiated by Vidovic, was a great success: a large echo of domestic and foreign press, 7,000 visitors (in the city of 18,000 inhabitants) and a good number of paintings sold. In December 1908, the Croatian Art Society "Medulić" is founded. The nominal president of the society is Vlaho Bukovac and his deputy, actually, the real president, is Emanuel Vidović. In 1909, Vidovic is appointed a professor of drawing at the “Crafts School” in Split and thus solved the basic existential worries. At the end of the year, "Medulić" society organizes a large exhibition in Ljubljana. In 1910, Vidovic returns to Italy, and, at the end of the year, “Medulic” arranges another great exhibition in Zagreb. 1912 is the last year of edition of “Duje Balavac” magazine. In the summer of the same year, Vidovic travels for the last time to Chioggia and Venice. In that occasion, he made a large number of paintings, especially of smaller formats, at the outskirts of Chioggia, in the swamps and by the abandoned peasant houses.
During World War I, he withdraws to his new atelier, arranged in the great hall of the abandoned Public theatre’s restaurant. In 1915, his ninth and last child was born, son Igor, whose sudden death of “Spanish flu” will put the painter into depression. Emanuel Vidovic will remain at the theatre’s studio until 1919, when, with the last group exhibition of “Medulić” society, the artistic life in Split is restored. On the ramparts near the theatre, Emanuel Vidovic arranges his new atelier.
The Medulic’s "Exhibition of Yugoslav Artists from Dalmatia", like many other after-war exhibitions, had a political-propaganda character. This one was a protest against Italian imperialism, an opposition to Italian propaganda about the indivisibility of Dalmatian art and culture from Venice. Italy appropriated most of the Croatian coast at the time and such a manifesto and protest of Dalmatian artists, headed by the world famous sculptor Ivan Meštrović, was needed, especially with regard to the allied fleet, anchored in Split at the same time. Vidovic not only participated with his works at the exhibition, but also contributed most to its organization. In the same year, “Medulić” will arrange a great solo exhibition of Emanuel Vidović in Split. In the next 3 years, this exhibition, with minor changes, is assembled in Zagreb, Belgrade and Osijek. At the end of 1919 / beginning of 1920, Vidovic arranges his new atelier at the attic of former City Council, the one where he stayed the longest (till 1941 / 1942, beginning of the World War II).
Art: 1906 – 1920
Angelus, the masterpiece made in 1906, marks the beginning of a new period in Vidovic’s painting and, at the same time, indicates the beginning of modern expression in Croatian art. In Angelus, he links symbolism and abstraction in a new artistic vision, rejecting impression and highlighting the two-dimensional space of the painting. Monochromatic, pointed surface and a quiet move of the line, dividing the frame into several large fields, together with stylizing of the figures and/or objects, are the features of a new, two-dimensional space. The feeling of the space vanishes; the whole painting is a harmoniously coloured surface (plot), a sum of equally valid points (blinking dots). Only several horizontal lines represent the materialism. The works are made of painter's imagination and the divisionism technique is only the tool to transform the realistic landscape into the painter’s imaginary vision.
Until 1916, approximately, there is a gradual de-gradation of tonal sound and material layer, meanwhile in 1918 and 1919 several versions of “Split harbour” are completely tonal and stained. During the World War I, the painter worked isolated in the large space of his atelier in the closed “Public Theatre”. In this period, he made some new and different works, mainly landscapes on large-size canvases, painted with thick layers of coloured dots. Most of the paintings were dark, with only sporadic and emblematic drop of light that reveals the landscape.
Until 1916, approximately, there is a gradual de-gradation of tonal sound and material layer, meanwhile in 1918 and 1919 several versions of “Split harbour” are completely tonal and stained. During the World War I, the painter worked isolated in the large space of his atelier in the closed “Public Theatre”. In this period, he made some new and different works, mainly landscapes on large-size canvases, painted with thick layers of coloured dots. Most of the paintings were dark, with only sporadic and emblematic drop of light that reveals the landscape.
1921 - 1930
In 1922, Vidovic is appointed a member of the “Serbian Royal Academy”. In 1923, his solo exhibition is arranged in Prague. At the time, he becomes interested in watercolour technique, and just after his return from Prague, he starts painting watercolours and tempera. That year, many Vidovic's paintings burnt out in a great fire at the Split harbour. In 1924, with the exhibition of Emanuel Vidovic and Angelo Uvodic, the “Galić Art Hall” is opened, the indisputable art center in Split in-between the two World Wars, and beyond.
Between 1925 and 1929, Vidovic discovers his old atelier with plenty of motifs he had never thought of before. Over years, he has been actually surrounding himself with items that have always attracting him: baroque sculptures, old dolls, chandeliers, relics, paper flowers, old frames, masks, and other. In 1926 he paints his first still life. These paintings, as well as those of the pastel series, are revealed at the exhibitions in Split and Zagreb in 1929 and in Belgrade in 1931. Many of the paintings from that period are considered masterpieces of art, such as, for example, “From the Studio”, “Old Doll”, “Still life with the Old Clock” and “Conger”.
Between 1925 and 1929, Vidovic discovers his old atelier with plenty of motifs he had never thought of before. Over years, he has been actually surrounding himself with items that have always attracting him: baroque sculptures, old dolls, chandeliers, relics, paper flowers, old frames, masks, and other. In 1926 he paints his first still life. These paintings, as well as those of the pastel series, are revealed at the exhibitions in Split and Zagreb in 1929 and in Belgrade in 1931. Many of the paintings from that period are considered masterpieces of art, such as, for example, “From the Studio”, “Old Doll”, “Still life with the Old Clock” and “Conger”.
Art: 1921 – 1930
In the period between 1921 and 1930, landscapes, especially with the motifs of Split, and the first still lifes, stand out. Common features of this (and the following) period, is darkening of the palette, replication of the form, expressionist features, and particularly peculiar concept of the space, specially emphasized in still lifes, in which impressionism, tone solutions and expressionism interlink.
1930 – 1936
In 1930, Vidovic starts visiting Trogir, particularly in the fall, when he likes it most. Enchanted by the landscape, he makes a series of drawings, the beginning of the great “Trogir cycle”. In 1932, he moves from his flat in Matošićeva Street to a larger and more comfortable apartment in the “Fire department building”, across the way of a newly opened “Gallery of Fine Arts”. The exhibitions of paintings from Trogir were arranged, first in Split in 1936 and later in Zagreb in 1937. The older paintings of this cycle contain dark intonation, noble facture and severely lined, masculine drawing. Later, some inner anxiety is spreading and scenes with a stiff, stormy sky, are created: an authentic, neither seen nor borrowed painting manuscript.
Art: 1930 – 1936
This is the period of the “Great Trogir Cycle”. Images, memories and imprints of his childhood, deepened with new remarks and impressions, resulted in a great series of motifs from Trogir. Painted both outdoors and at the studio, in this group of landscape paintings there are more than 100 oils, watercolours, pastels and drawings. This period, in common with previous one, is characterized by the darkening of the palette, replication of the form, expressionist features, and particularly peculiar concept of the space. Strong black line around cold colours outlines the landscape, not only seen, but profoundly experienced by the painter.
1936 - 1944
With the great success of Trogir landscapes, Vidovic did not neglect still lifes and interiors. He rediscovered pastel technique he already faced about ten years ago. Now, however, it became his great passion. In 1938, he paints the interiors again and reveals himself the Cathedral and his own apartment, full of antique objects, artworks, furniture, old carpets and sheltered curtains. At the exhibition "Half Century of Croatian Art" held in Zagreb in 1938 and in 1939, the critics once again turned its attention to painting master.
In 1939/40 Vidovic retires from his school teaching profession. In 1940, Erih Šlomović, secretary of Amboise Vollard and famous art collector, makes him a visit in Split, intended to arrange him a great solo exhibition in Paris. This plan unfortunately did not come through because of the upcoming Great War. Vidovic's solo exhibition of “Split Cathedral interiors”, arranged in “Galić Art Hall” and opened in 1941, was a great feast of art and a symbolic “goodbye to peace”. Just few days after the paintings were removed from the exhibition rooms, the first bombs fell on Split and the Italian occupation of the city began.
During the war, the house became his whole world. From 1941, he never attended his old atelier again. He visited few more times the empty Split cathedral and the monastery at Poljud, and then closed himself into the room, painting still lifes with fruits and flowers, fish and crabs, dead birds. In 1942, he refuses the Italian authorities’ invitation to exhibit at the "Mostra d'arte spalatina" (“Split Art Exhibition”) which is held in the center of the occupied city. Despite his opposition, dozen of his paintings were exposed at the “Biennale” in Venice. At the age of 72, the Italian authorities punish him for non-obedience, settling him and his family in a smaller apartment (today in Matoševa ulica 9). It was the last painter's relocation.
In 1939/40 Vidovic retires from his school teaching profession. In 1940, Erih Šlomović, secretary of Amboise Vollard and famous art collector, makes him a visit in Split, intended to arrange him a great solo exhibition in Paris. This plan unfortunately did not come through because of the upcoming Great War. Vidovic's solo exhibition of “Split Cathedral interiors”, arranged in “Galić Art Hall” and opened in 1941, was a great feast of art and a symbolic “goodbye to peace”. Just few days after the paintings were removed from the exhibition rooms, the first bombs fell on Split and the Italian occupation of the city began.
During the war, the house became his whole world. From 1941, he never attended his old atelier again. He visited few more times the empty Split cathedral and the monastery at Poljud, and then closed himself into the room, painting still lifes with fruits and flowers, fish and crabs, dead birds. In 1942, he refuses the Italian authorities’ invitation to exhibit at the "Mostra d'arte spalatina" (“Split Art Exhibition”) which is held in the center of the occupied city. Despite his opposition, dozen of his paintings were exposed at the “Biennale” in Venice. At the age of 72, the Italian authorities punish him for non-obedience, settling him and his family in a smaller apartment (today in Matoševa ulica 9). It was the last painter's relocation.
Art: 1936 – 1944
This is the period of great masterpieces; cycle of studio interiors and series of interiors of Split and Trogir churches. Characteristic for this period is the balance of space and composition, breathing of objects in light and shadow, deeply serious orchestration of colours, complete elaboration of all details and their appearance to surface unity, all with ingenious skill.
The interiors of the churches in Split and Trogir (1938 – 1942), similar to studio interiors, are painted with a new sense of space, but with greater three-dimensionality and depth. Vivacious strokes eradicate the objects’ volume and weight, but exceptionally extract the interaction of light and colour on the painting’s surface.
From 1938, and especially during the World War II, Vidović began to withdrew into his atelier, painting its interior and still lifes with objects collected over years. Earlier paintings of this series are lighter and bright, made with various palette and dynamic and vivacious strokes. Later works (from 1942 onwards) are darker, with harmonious colours, deepened with grey. The objects are detached from the outer light and world, standing out of the dark and vague space, the brushwork is gentle and the palette is delicate and quiet. In spite of dissimilarities, in all the interiors, the painter used drawing for dimensional and compositional unity, simple configuration, soft forming and extremely adequate harmony of colours and tones. Blotches of various colours and thickness make a vibrating surface, interconnecting all the items into a fused unit, producing a unique ambience.
The interiors of the churches in Split and Trogir (1938 – 1942), similar to studio interiors, are painted with a new sense of space, but with greater three-dimensionality and depth. Vivacious strokes eradicate the objects’ volume and weight, but exceptionally extract the interaction of light and colour on the painting’s surface.
From 1938, and especially during the World War II, Vidović began to withdrew into his atelier, painting its interior and still lifes with objects collected over years. Earlier paintings of this series are lighter and bright, made with various palette and dynamic and vivacious strokes. Later works (from 1942 onwards) are darker, with harmonious colours, deepened with grey. The objects are detached from the outer light and world, standing out of the dark and vague space, the brushwork is gentle and the palette is delicate and quiet. In spite of dissimilarities, in all the interiors, the painter used drawing for dimensional and compositional unity, simple configuration, soft forming and extremely adequate harmony of colours and tones. Blotches of various colours and thickness make a vibrating surface, interconnecting all the items into a fused unit, producing a unique ambience.
1944 – 1953
After World War II, Vidovic’s art is not in line with the new needs: dolls, wooden horses, saints and churches do not match the requirements of the post-war society. Nevertheless, in the art of those years, away from all the runners, there were two stinging old women: Vidovic's Old Dolls! In 1949, finally, Emanuel Vidovic is appointed (correspondent) member of “Yugoslav Academy of Sciences and Arts”. In 1950, during one of the usual outings for a walk (whose last destination was always the “Bellevue café” at the Split promenade), he slipped, fell and broke the femur. It was the last time he went out the house.
In 1952, the “Academy”, with the honest engagement of several friends and admirers (Marino Tartaglia, Jerolim Miše, Vjekoslav Parać and Miroslav Montani), arranged him, a rather small, but important, solo retrospective exhibition at the “Modern Gallery” in Zagreb. On a rainy morning, June the 1st 1953, after three years of illness, Emanuel Vidović died in his home in Split. The Painter was buried next day, with a simple funeral ceremony held in St. Domnius Cathedral, behind the doors of master Buvina, in the space that has already been his home.
In 1952, the “Academy”, with the honest engagement of several friends and admirers (Marino Tartaglia, Jerolim Miše, Vjekoslav Parać and Miroslav Montani), arranged him, a rather small, but important, solo retrospective exhibition at the “Modern Gallery” in Zagreb. On a rainy morning, June the 1st 1953, after three years of illness, Emanuel Vidović died in his home in Split. The Painter was buried next day, with a simple funeral ceremony held in St. Domnius Cathedral, behind the doors of master Buvina, in the space that has already been his home.
Art: 1944 – 1953
In the first part of the last period, until 1950, Vidovic is repeating themes, motifs and procedures from previous periods. Two years from this period can be pointed out; 1945 as the year of pure Impressionist notes and 1948 as the year of dark still lifes and interiors.
In the final, expressionist stage, Vidović paints mostly from his memories and records, mainly motifs of Split and Trogir. Each landscape is painted as the painter still saw it whereas the actual scenery has been completely changed over years. In these paintings, there are no patiently constructed planes nor symphonically harmonized tones. These are all aggressively drawn random sketches of dematerialized universe in colour that do not follow any rules of nature rather than those of the painter. Vidović practices dots again, but does not restrict the palette to few shades only and uses always a different colour on the painting (grey, brown, red, blue, yellow, green). Passionate and rapidly applied short hits dissolve the theme into a delicate and unsteady image of his reminiscence landscapes. The motif is marginally outlined only throughout coloured spots or points, completing a unity of items and space. In these paintings Emanuel Vidović creates a unique atmosphere, though different in each work, emphasizes more than ever, the painter’s personal and inimitable style.
In the final, expressionist stage, Vidović paints mostly from his memories and records, mainly motifs of Split and Trogir. Each landscape is painted as the painter still saw it whereas the actual scenery has been completely changed over years. In these paintings, there are no patiently constructed planes nor symphonically harmonized tones. These are all aggressively drawn random sketches of dematerialized universe in colour that do not follow any rules of nature rather than those of the painter. Vidović practices dots again, but does not restrict the palette to few shades only and uses always a different colour on the painting (grey, brown, red, blue, yellow, green). Passionate and rapidly applied short hits dissolve the theme into a delicate and unsteady image of his reminiscence landscapes. The motif is marginally outlined only throughout coloured spots or points, completing a unity of items and space. In these paintings Emanuel Vidović creates a unique atmosphere, though different in each work, emphasizes more than ever, the painter’s personal and inimitable style.
Sources:
Duško Kečkemet, EMANUEL VIDOVIĆ - Život i djelo, Matica Hrvatska, Zagreb 1959.
Duško Kečkemet, EMANUEL VIDOVIĆ - Život i djelo, Agram, Zagreb 2000.
Igor Zidić, (predgovor), Umjetnički paviljon u Zagrebu, 1971., Zagreb, Retrospektivna izložba Emanuel VIDOVIĆ 1870 / 1953.
Igor Zidić, (umjesto predgovora) E. VIDOVIĆ, Galerija umjetnina Split, 1982., Split, Retrospektivna izložba 1870. – 1953.
Igor Zidić, (ljetopis) Emanuel Vidović 1870-1953., Retrospektivna izložba, Zagreb 1987.
Nela Žižić, Preface, Emanuel Vidović 1896. – 1906., Emanuel Vidovic Gallery, December 2009 – January 2010, Split City Museum
Nela Žižić, Emanuel Vidović “Privremeni postav Galerije” December 1999, catalogue, Split City Museum.
Nela Žižić, Preface, Emanuel Vidović, Works kept in the Emanuel Vidović Gallery, Varaždin City museum, September – October 2011
bottom of page