Emanuel Vidović
Encyclopedia
Emanuel Vidović was a painter and graphic artist from Split, Croatia
.
Emanuel Vidović was instrumental in bringing the modern art
ideas to Split. From 1900 he was an active member of the Literary-Art Club, and in 1907, together with Ivan Meštrović
, he founded the Medulić Society. Though he had trained at the Academy of Arts in Venice
, he never completed his formal studies, preferring instead to paint scenes of Venice - interiors, views of canals, lagoons and motifs from around the town of Chioggia
. In 1898, he returned to his hometown of Split, bringing new ideas of post-impressionist style light and intense colour. He painted plein air landscapes, and more stylized, larger canvases back in his studio. His early work contained literary allusions to South Slavic history and legends, in an art nouveau
style. Later work would become darker, with brighter accents, and expressionist style black outlines around forms. His landscapes, and especially his later interiors of churches around Split and Trogir were well-received by critics and the public.
Vidović was elected a corresponding member of the Yugoslav Academy of Sciences and Arts in 1949. He exhibited his work at solo and group shows within Croatia and abroad. For many years he was Professor of Drawing at the High School, and at the School of Crafts in Split.
In 1986, the Emanuel Vidović Gallery was opened in Split, featuring the life and works of the artist.
In 1887, the 17 year-old Vidović enrolled as a student of sculpture
at the L'Accademia di Belle Arti
in Venice
. He transferred to the painting department, but was dissatisfied with the conservatism of the teaching, and in 1890 gave up his formal studies. He struggled for a time to support himself, painting scenes around Venice. In 1892 he arrived in Milan, where he worked at Famiglia Artistica.
In 1894, one of Vidović's paintings was exhibited in Milan along with works by Giovanni Segantini
. That same year, he spent time in Chioggia
, a quiet fishing town with picturesque lagoons and canals. Among the paintings of the time was a canvas bathed in light, painted in broad strokes, and some romantic dawn and dusk landscapes, which reflect the spirit of symbolism
.
On his return to Split, Vidović developed a close relationship with painters Josip Lalić, Ante Katunarić and Virgil Meneghelli Dinčić, and with the builder Ante Bezić. In 1896 he exhibited his work locally, and the following year at an international exhibition in Copenhagen
.
In 1897 he spent almost a year in Chioggia, this time in the company of Ante Katunarić. From this productive time come views of Chioggia, Venice and Giudecca
, where sunlit forms are portrayed in shimmering strokes of colour, and details are all but lost. Back in Split in 1898, Vidović painted local scenes in the same style. He became alternate drawing master at the high school, and set up his first studio. That year, also, he married Amalija Baffo from Chioggia.
Establishment of the Literary-Art Club (Književno-umjetničkog kluba) in 1900 brought modern art
to Split. Emanuel Vidović was one of its most active members, organizing its first exhibition together with Josip Lalić in 1901. In addition to his oil paintings he also showed a few caricatures. In 1903, Vidović held his first solo exhibitions in Split and Zagreb, and appeared in group exhibitions in Milan
, London
, Vienna
and Sofia
.
In 1908 Vidović was one of the organizers of the big Dalmatian art exhibition, and in the same year along with Katunarić and Dincić began to publish a satirical paper Duje Balavac. Ivan Meštrović and Vidović founded the Medulić Society, along with other young artists of the area. In 1909 Vidović was appointed professor of drawing at the School of Crafts (Obrtnoj školi) in Split.
After the war, in 1919, Vidović held his second solo exhibit in Split, which later transferred to Zagreb
, Belgrade
, and Osijek
. Then he moved into the studio which he used for 1919-1942 in the attic of the former government building on Klaićev Square.
In 1923 he held a solo exhibit in Prague
, and in 1924 a joint exhibit with Anđelo Uvodić opened at the salon of Ivan Galić in Split. Emanuel Vidović organized the Great Jubilee Exhibition in 1929 in Split and Zagreb, and 1931 in Belgrade. At this time his oil paintings began to show new themes - still lifes and interiors, and he also exhibited landscapes in pastels.
During the early 1930s, Vidović created a significant cycle of Trogir landscapes which were exhibited in Split in 1936. These new works represented a departure from his earlier literary symbolism and were warmly received both by the public and by critics. In 1939, Vidović took part in the festival, "Half a century Croatian art" (Pola vijeka hrvatske umjetnosti) in Zagreb, and also held a new solo exhibit at Salon Galić in Split. They showed interiors of churches and his studio, and still lifes.
During 1938-1942 he painted a series of church interiors, developing a new approach to depicting space. Deep three-dimensional spaces taken from many different viewpoints are balanced by a refined treatment. The Trogir cycle of 1936 was welcomed by critics, and he was elected to participate in the Venice Biennale
s of 1942 and 1952. During the war he retired to his studio and focused on painting interiors and still lifes.
In 1949 Vidovic was elected a corresponding member of the Yugoslav Academy of Sciences and Arts and in 1952 a retrospective exhibition of his work was held in Zagreb.
Emanuel Vidovic died on 1 June 1953.
In Split and the surrounding area Vidović made many studies and sketches in plein-air, working with bright colours in the live landscape. Later in his studio, in transferring these fresh impressions to large canvases, Vidović would create a soft, lyrical and often symbolic atmosphere. His palette was getting darker, and many of these paintings demonstrate a strength and originality. On the brighter sections within otherwise dark paintings Vidović created intensive luminous and colourful effects.
In the diptych Small World (Mali svijet) Vidović experimented with Segantini divisions achieving a work of pure style. In Angelus (1906/7) space disappears, and the entire image is created with red planes of shimmering dots, and forms are reduced to a few peaceful horizontal lines.
Around 1920, Vidović's painting style changed - his palette became dark (mostly blue, green, brown and black) with the occasional accent of bright colour, forms outlined in black with lines that tended to become distorted, giving the paintings an expressionist feeling.
From 1930 Vidović paid regular visits to Trogir, attracted by the patina that long years gave to its architecture. At that time he also started painting still life, mainly inspired by ancient sculptures, church objects and antiques in his Split studio. He moved away from the earlier literary symbolism, his palette became brighter, drawings clearer while his artistic experience was reflected in lyrical notes and a typical Mediterranean atmosphere.
As a professor at the High School and at the School of Decorative Arts in Split, Vidović taught the younger generation of artists.
In 1986, the Emanuel Vidović Gallery was opened in Split, featuring the life and works of the artist. Part of the City Museum in Split, it contains a collection of paintings, photographs, and the artists's studio.
Online gallery of his works http://staticweb.rasip.fer.hr/misc/emanuel_vidovic/
Croatia
Croatia , officially the Republic of Croatia , is a unitary democratic parliamentary republic in Europe at the crossroads of the Mitteleuropa, the Balkans, and the Mediterranean. Its capital and largest city is Zagreb. The country is divided into 20 counties and the city of Zagreb. Croatia covers ...
.
Emanuel Vidović was instrumental in bringing the modern art
Modern art
Modern art includes artistic works produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of...
ideas to Split. From 1900 he was an active member of the Literary-Art Club, and in 1907, together with Ivan Meštrović
Ivan Meštrovic
Ivan Meštrović was a Croatian and Yugoslav sculptor and architect born in Vrpolje, Croatia...
, he founded the Medulić Society. Though he had trained at the Academy of Arts in Venice
Venice
Venice is a city in northern Italy which is renowned for the beauty of its setting, its architecture and its artworks. It is the capital of the Veneto region...
, he never completed his formal studies, preferring instead to paint scenes of Venice - interiors, views of canals, lagoons and motifs from around the town of Chioggia
Chioggia
Chioggia is a coastal town and comune of the province of Venice in the Veneto region of northern Italy.-Geography:...
. In 1898, he returned to his hometown of Split, bringing new ideas of post-impressionist style light and intense colour. He painted plein air landscapes, and more stylized, larger canvases back in his studio. His early work contained literary allusions to South Slavic history and legends, in an art nouveau
Art Nouveau
Art Nouveau is an international philosophy and style of art, architecture and applied art—especially the decorative arts—that were most popular during 1890–1910. The name "Art Nouveau" is French for "new art"...
style. Later work would become darker, with brighter accents, and expressionist style black outlines around forms. His landscapes, and especially his later interiors of churches around Split and Trogir were well-received by critics and the public.
Vidović was elected a corresponding member of the Yugoslav Academy of Sciences and Arts in 1949. He exhibited his work at solo and group shows within Croatia and abroad. For many years he was Professor of Drawing at the High School, and at the School of Crafts in Split.
In 1986, the Emanuel Vidović Gallery was opened in Split, featuring the life and works of the artist.
Biography
Emanuel Božidar Vidović was the first child of Ivan Vidović from Split, and Paškva (nee Grubić) from nearby Solin. He was born on Christmas Eve 1870 in a stone cottage in the Veli Varoš area of city. After elementary school, he attended the Imperial Royal High School (Cesarsko-kraljevsku Veliku Realku) in Split, where he studied drawing with the architect and painter Emil Vecchietti.In 1887, the 17 year-old Vidović enrolled as a student of sculpture
Sculpture
Sculpture is three-dimensional artwork created by shaping or combining hard materials—typically stone such as marble—or metal, glass, or wood. Softer materials can also be used, such as clay, textiles, plastics, polymers and softer metals...
at the L'Accademia di Belle Arti
Accademia
The Accademia is a museum gallery of pre-19th century art in Venice, northern Italy. Situated on the south bank of the Grand Canal, within the sestiere of Dorsoduro, it gives its name to one of the three bridges across the canal, the Ponte dell'Accademia, and to the boat landing station for the...
in Venice
Venice
Venice is a city in northern Italy which is renowned for the beauty of its setting, its architecture and its artworks. It is the capital of the Veneto region...
. He transferred to the painting department, but was dissatisfied with the conservatism of the teaching, and in 1890 gave up his formal studies. He struggled for a time to support himself, painting scenes around Venice. In 1892 he arrived in Milan, where he worked at Famiglia Artistica.
In 1894, one of Vidović's paintings was exhibited in Milan along with works by Giovanni Segantini
Giovanni Segantini
Giovanni Segantini was an Italian painter known for his large pastoral landscapes of the Alps. He was one of the most famous artists in Europe in the late 19th century, and his paintings were collected by major museums. In later life he combined a Divisionist painting style with Symbolist images...
. That same year, he spent time in Chioggia
Chioggia
Chioggia is a coastal town and comune of the province of Venice in the Veneto region of northern Italy.-Geography:...
, a quiet fishing town with picturesque lagoons and canals. Among the paintings of the time was a canvas bathed in light, painted in broad strokes, and some romantic dawn and dusk landscapes, which reflect the spirit of symbolism
Symbolism
Symbolism is the applied use of symbols. It is a representation that carries a particular meaning. It is a device in literature where an object represents an idea.A symbol is an object, action, or idea that represents something other than itself....
.
On his return to Split, Vidović developed a close relationship with painters Josip Lalić, Ante Katunarić and Virgil Meneghelli Dinčić, and with the builder Ante Bezić. In 1896 he exhibited his work locally, and the following year at an international exhibition in Copenhagen
Copenhagen
Copenhagen is the capital and largest city of Denmark, with an urban population of 1,199,224 and a metropolitan population of 1,930,260 . With the completion of the transnational Øresund Bridge in 2000, Copenhagen has become the centre of the increasingly integrating Øresund Region...
.
In 1897 he spent almost a year in Chioggia, this time in the company of Ante Katunarić. From this productive time come views of Chioggia, Venice and Giudecca
Giudecca
Giudecca is an island in the Venetian Lagoon, northern Italy. It is part of the sestiere of Dorsoduro. It is a locality of the comune of Venice.-Geography:...
, where sunlit forms are portrayed in shimmering strokes of colour, and details are all but lost. Back in Split in 1898, Vidović painted local scenes in the same style. He became alternate drawing master at the high school, and set up his first studio. That year, also, he married Amalija Baffo from Chioggia.
Establishment of the Literary-Art Club (Književno-umjetničkog kluba) in 1900 brought modern art
Modern art
Modern art includes artistic works produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of...
to Split. Emanuel Vidović was one of its most active members, organizing its first exhibition together with Josip Lalić in 1901. In addition to his oil paintings he also showed a few caricatures. In 1903, Vidović held his first solo exhibitions in Split and Zagreb, and appeared in group exhibitions in Milan
Milan
Milan is the second-largest city in Italy and the capital city of the region of Lombardy and of the province of Milan. The city proper has a population of about 1.3 million, while its urban area, roughly coinciding with its administrative province and the bordering Province of Monza and Brianza ,...
, London
London
London is the capital city of :England and the :United Kingdom, the largest metropolitan area in the United Kingdom, and the largest urban zone in the European Union by most measures. Located on the River Thames, London has been a major settlement for two millennia, its history going back to its...
, Vienna
Vienna
Vienna is the capital and largest city of the Republic of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.723 million , and is by far the largest city in Austria, as well as its cultural, economic, and political centre...
and Sofia
Sofia
Sofia is the capital and largest city of Bulgaria and the 12th largest city in the European Union with a population of 1.27 million people. It is located in western Bulgaria, at the foot of Mount Vitosha and approximately at the centre of the Balkan Peninsula.Prehistoric settlements were excavated...
.
In 1908 Vidović was one of the organizers of the big Dalmatian art exhibition, and in the same year along with Katunarić and Dincić began to publish a satirical paper Duje Balavac. Ivan Meštrović and Vidović founded the Medulić Society, along with other young artists of the area. In 1909 Vidović was appointed professor of drawing at the School of Crafts (Obrtnoj školi) in Split.
After the war, in 1919, Vidović held his second solo exhibit in Split, which later transferred to Zagreb
Zagreb
Zagreb is the capital and the largest city of the Republic of Croatia. It is in the northwest of the country, along the Sava river, at the southern slopes of the Medvednica mountain. Zagreb lies at an elevation of approximately above sea level. According to the last official census, Zagreb's city...
, Belgrade
Belgrade
Belgrade is the capital and largest city of Serbia. It is located at the confluence of the Sava and Danube rivers, where the Pannonian Plain meets the Balkans. According to official results of Census 2011, the city has a population of 1,639,121. It is one of the 15 largest cities in Europe...
, and Osijek
Osijek
Osijek is the fourth largest city in Croatia with a population of 83,496 in 2011. It is the largest city and the economic and cultural centre of the eastern Croatian region of Slavonia, as well as the administrative centre of Osijek-Baranja county...
. Then he moved into the studio which he used for 1919-1942 in the attic of the former government building on Klaićev Square.
In 1923 he held a solo exhibit in Prague
Prague
Prague is the capital and largest city of the Czech Republic. Situated in the north-west of the country on the Vltava river, the city is home to about 1.3 million people, while its metropolitan area is estimated to have a population of over 2.3 million...
, and in 1924 a joint exhibit with Anđelo Uvodić opened at the salon of Ivan Galić in Split. Emanuel Vidović organized the Great Jubilee Exhibition in 1929 in Split and Zagreb, and 1931 in Belgrade. At this time his oil paintings began to show new themes - still lifes and interiors, and he also exhibited landscapes in pastels.
During the early 1930s, Vidović created a significant cycle of Trogir landscapes which were exhibited in Split in 1936. These new works represented a departure from his earlier literary symbolism and were warmly received both by the public and by critics. In 1939, Vidović took part in the festival, "Half a century Croatian art" (Pola vijeka hrvatske umjetnosti) in Zagreb, and also held a new solo exhibit at Salon Galić in Split. They showed interiors of churches and his studio, and still lifes.
During 1938-1942 he painted a series of church interiors, developing a new approach to depicting space. Deep three-dimensional spaces taken from many different viewpoints are balanced by a refined treatment. The Trogir cycle of 1936 was welcomed by critics, and he was elected to participate in the Venice Biennale
Venice Biennale
The Venice Biennale is a major contemporary art exhibition that takes place once every two years in Venice, Italy. The Venice Film Festival is part of it. So too is the Venice Biennale of Architecture, which is held in even years...
s of 1942 and 1952. During the war he retired to his studio and focused on painting interiors and still lifes.
In 1949 Vidovic was elected a corresponding member of the Yugoslav Academy of Sciences and Arts and in 1952 a retrospective exhibition of his work was held in Zagreb.
Emanuel Vidovic died on 1 June 1953.
Legacy
Vidović's early paintings of Venice, Milan and Chioggia, were inspired Segantini's divisionism technique. His paintings of Chioggia, in particular, range from soft lyrical twilight atmospheres to bright, colourful sunlit landscape and seascapes.In Split and the surrounding area Vidović made many studies and sketches in plein-air, working with bright colours in the live landscape. Later in his studio, in transferring these fresh impressions to large canvases, Vidović would create a soft, lyrical and often symbolic atmosphere. His palette was getting darker, and many of these paintings demonstrate a strength and originality. On the brighter sections within otherwise dark paintings Vidović created intensive luminous and colourful effects.
In the diptych Small World (Mali svijet) Vidović experimented with Segantini divisions achieving a work of pure style. In Angelus (1906/7) space disappears, and the entire image is created with red planes of shimmering dots, and forms are reduced to a few peaceful horizontal lines.
Around 1920, Vidović's painting style changed - his palette became dark (mostly blue, green, brown and black) with the occasional accent of bright colour, forms outlined in black with lines that tended to become distorted, giving the paintings an expressionist feeling.
From 1930 Vidović paid regular visits to Trogir, attracted by the patina that long years gave to its architecture. At that time he also started painting still life, mainly inspired by ancient sculptures, church objects and antiques in his Split studio. He moved away from the earlier literary symbolism, his palette became brighter, drawings clearer while his artistic experience was reflected in lyrical notes and a typical Mediterranean atmosphere.
As a professor at the High School and at the School of Decorative Arts in Split, Vidović taught the younger generation of artists.
In 1986, the Emanuel Vidović Gallery was opened in Split, featuring the life and works of the artist. Part of the City Museum in Split, it contains a collection of paintings, photographs, and the artists's studio.
Works
- Giudecca, 1898, Modern Gallery, Zagreb
- Vranjica, 1898, Archaeological Museum, Split
- Fall of Solin (Pada Solinčice) 1898
- Houses at Tusculum (Kuće kod Tusculuma) 1898
- Small World (Mali svijet), 1904
- Angelus, 1906/7, ulje na platnu, Modern Gallery, Zagreb
- Villager Houses, Solin (Seljačke kuće,Solin), 1921, Gallery Emanuel Vidovic, Split
- Still Life (Mrtva priroda) 1926
- From the Studio (Iz ateliera) 1926
- Statue with Vessel (Kip s posudom) 1927
- Split Harbour, 1937
- Split Cathedral (Splitska katedrala), 1939, Gallery Emanuel Vidovic, Split
- Old Clock (Stari sat), 1945, Gallery Emanuel Vidovic, Split
- Kamerlengo, 1952
Online gallery of his works http://staticweb.rasip.fer.hr/misc/emanuel_vidovic/
Solo Exhibitions
Selected recent solo exhibitions- 2009 Emanuel Vidovic exhibition at the Art pavilion "Juraj Sporer" in Opatija, Croatia
- 2001 Emanuel Vidović - Museum of Modern Art, Dubrovnik
- 2000 Emanuel Vidović : djela iz fundusa Galerije umjetnina - Galerija Umjetnina Split, Split
- 1982 Emanuel Vidović - Galerija Umjetnina Split, Split
- 1971 Emanuel Vidović 1870-1953 - Umjetnicki paviljon / Art Pavilion Zagreb, Zagreb
- 1963 Emanuel Vidović - Galerija Umjetnina Split, Split
- 1953 Posmrtna izložba Emanuela Vidovića - Galerija Umjetnina Split, Split
Group Exhibitions
Selected recent group exhibitions- 2008 From the holdings of the museum - Museum of Modern Art Dubrovnik, Dubrovnik
- 2007 Iz fundusa galerije - Museum of Modern Art Dubrovnik, Dubrovnik
- 2006 Selection from the Museum of Modern Art Dubrovnik Collection - Museum of Modern Art Dubrovnik, Dubrovnik
- Venice BiennaleVenice BiennaleThe Venice Biennale is a major contemporary art exhibition that takes place once every two years in Venice, Italy. The Venice Film Festival is part of it. So too is the Venice Biennale of Architecture, which is held in even years...
1942, 1952
Public Collections
- Modern Gallery, ZagrebModern Gallery, ZagrebModern Gallery is a museum in Zagreb, Croatia that holds the most important and comprehensive collection of paintings, sculptures and drawings by 19th and 20th century Croatian artists. The collection numbers around 10,000 works of art, housed since 1934 in the historic Vranyczany Palace in the...
- Museum of Modern Art Dubrovnik, Dubrovnik
- Lošinjski muzej, Mali Lošinj
- Museum of Modern and Contemporary Art Rijeka, Rijeka
- Rovinj Heritage Museum , Rovinj
- Gallery of Fine Arts, SplitGallery of Fine Arts, SplitThe Gallery of Fine Arts , is an art museum in Split, Croatia containing works from 14th century up to the present day providing an overview of the artistic developments in the local art scene...
- Galerija Emanuela Vidovića, Split