60. Split Interior [1937.-1940.]

When we speak of artists in the city under Marjan, there is one name that will resonate through centuries - Emanuel Vidović (Split, 1870. – Split, 1953.). His relationship with Italy, though strong, never diminished his connection with his native Dalmatia. While residing in Italy, he continually returns to his homeland. In Vidović's opus, Dalmatia is not just a motif on the canvas, rather Dalmatia becomes a living, breathing presence, full of deep roots and layered histories. Vidović is not just a painter; he is a guardian of memories. From the very beginnings, Vidović has demonstrated virtuosity in manipulation of light, atmospherically transforming Split, Solin, and Trogir vistas into unearthly spaces. Although recognized as a master of landscape, he also deserves affirmation as a painter of interiors. From the late 1930s, Vidović almost obsessively documents the environments of his studio, civic apartments, or church interiors. The Split interior exudes melancholy and nostalgia. We see a modest studio, a room filled with objects and trinkets that have accumulated over the years. The source of natural light is muted, or semi-closed, thereby creating an atmosphere of semi-darkness. With this work, the artist lets us into his most intimate corner of the home. What is more important to an artist than that sacred, creative space of the studio?

Dimensions

width 65 cm, height 54 cm

Description

oil on canvas, signed lower left, in red, "E. VIDOVIĆ"

Research information

The work was exhibited at the retrospective exhibition "EMANUEL VIDOVIĆ", Museum space, 15.01.1987. - 15.03.1987., Klovićevi dvori Gallery, and is mentioned in the catalogue under catalog number 209.

Dating

1937.-1940.

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