Emanuel Vidović

Emanuel Vidović a adăugat o fotografie

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R.I.P
Emanuel

Emanuel Božidar Vidović (24 December 1870 – 1 June 1953) was a Croatian painter and graphic artist from Split. 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 home city 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…Citește mai mult

Emanuel Vidović a adăugat o fotografie

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R.I.P
Emanuel

Biography Vidović was the first child of Ivan Vidović from Split, and Paškva (née 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 at the 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…Citește mai mult

Emanuel Vidović a publicat o actualizare

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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…Citește mai mult