APA 6th Edition Maković, Z. (1996). Drugi ekspresionizam Vilka Gecana. Peristil, 39 (1), 145-156. Preuzeto s https://hrcak.srce.hr/150161
MLA 8th Edition Maković, Zvonko. "Drugi ekspresionizam Vilka Gecana." Peristil, vol. 39, br. 1, 1996, str. 145-156. https://hrcak.srce.hr/150161. Citirano 17.04.2021.
Chicago 17th Edition Maković, Zvonko. "Drugi ekspresionizam Vilka Gecana." Peristil 39, br. 1 (1996): 145-156. https://hrcak.srce.hr/150161
Harvard Maković, Z. (1996). 'Drugi ekspresionizam Vilka Gecana', Peristil, 39(1), str. 145-156. Preuzeto s: https://hrcak.srce.hr/150161 (Datum pristupa: 17.04.2021.)
Vancouver Maković Z. Drugi ekspresionizam Vilka Gecana. Peristil [Internet]. 1996 [pristupljeno 17.04.2021.];39(1):145-156. Dostupno na: https://hrcak.srce.hr/150161
IEEE Z. Maković, "Drugi ekspresionizam Vilka Gecana", Peristil, vol.39, br. 1, str. 145-156, 1996. [Online]. Dostupno na: https://hrcak.srce.hr/150161. [Citirano: 17.04.2021.]
Sažetak One certainly has much less cause to accept the term "second expressionism" as a closed stylistic formation than one had when dealing with the first. In the period between 1925 and 1935 the followers of expressionist tendencies sought the direct support of Van Gogh's painting. However, they avoided his tragic touch and seemed to be closer to the French fauvists such as Matisse, Dufy, Vlaminck.
The Croatian "second expressionism" also derived from an opposition to the critical realism of the "Zemlja" group, embracing an exceptionally broad spectrum, regardless of professed programs and intentions. These tendencies marked a whole series of artists, from the "Group of Three", as well as Herman, Vidović, Tartaglia and Trepše, Uzelac and Gecan, to Plančić and Ignjat Job whose strong expressionist gesture was imbued authentic pathos.
It is especially interesting to watch Vilko Gecan's "second" expressionist phase because about 1920 he was such an uncompromising representative of the first. Afther 1920 he went through several phases which toned down his expressiveness. Important was he departure for the United States which set him at a distance from his native milieu and the works he produced there. In the course of several years of systematic study in America he acquired the skill he lacked at the technical obstacles, about 1928 Gecan reached a full expressive mastery which however, never turned into mannerism. This new superior grasp of line, colour and brush stroke revaeled a creative joy which produced the works of Gecan's "second" expressionism. A whole series of his paintings between 1928 and 1931 must be placed at the very top of the Croatian expressionist painting of that period. Unfortunately, the Parkinson's disease which developed in the early 1930's abruptly cut off this new flowering of Gecan's art.