Early still lifes

Nothing of what Vidović did not feel his own could find the way to his canvas. To make a good painting, he had to know and understand what he was painting. Vidović’s turn towards still lifes inspired by objects that surrounded him seems a logical result of such an approach to motifs. He only had to avert his eyes from the outer world, look deeply into the tiny world of his atelier and focus on what his voiceless possessions were whispering. His son Slavan prompted him to do so hoping that the change of motifs would modernize his visual expression and eliminate the danger of repetition.

Vidović started surrounding himself with attractive objects, mainly old and cast away deprived of their former roles as he perceived them as protectors of his memories. Only after he had acquired a vision of how to convey onto his canvas what he saw and felt in them, did he embark onto the adventure of painting.

* More information in the audio guide.