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- 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 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. (en)
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- Emanuel Vidović in 1936 (en)
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- 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 (en)
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- Emanuel Vidović (en)
- Εμάνουελ Βίντοβιτς (el)
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