In 1898, he returned to his home city of Split, bringing new ideas of Post-Impressionist style light and intense colour.

His early work contained literary allusions to South Slavic history and legends, in an Art Nouveau style.

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.

[1] 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.

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.

[1] 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.

His paintings of Chioggia, in particular, range from soft lyrical twilight atmospheres to bright, colourful sunlit landscape and seascapes.

[2] 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.

[2] 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.

At that time he also started painting still life, mainly inspired by ancient sculptures, church objects and antiques in his Split studio.

[3] 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.