of his teacher. After graduating from Zagreb, in the autumn of 1918 he moved to Prague, where Milivoj Uzelac had been since 1915. Vladimir Varlaj and Vilko Gecan also arrived in Prague, meeting up with Ivo Režek and Frano Kršinić to make the city an important reference for Croatian modern art. From there, they picked up the new ideas of secessionism and expressionism, which they brought back to Croatian art. An important influence on Trepše and his contemporaries was the artist Miroslav Kraljević, who had died in 1913, aged only 27. While Kraljević had depicted wealthy gentlemen in the company of courtesans in Paris, Trepše and his fellow artists in Prague showed working people. A typical scene in Trepše's paintings had sombre men in hats sitting around a wooden table in a bar, playing cards and drinking, some fallen asleep where they sat. The place is obscurely lit, full of smoke, and there is usually just one woman in the company. A large retrospective exhibit of his works opened in 2010 in the Art Pavilion, Zagreb. It included works in oils, watercolour and prints, as well as some of his original designs for theatre sets. More comprehensive than the previous retrospective held at the same venue in 1975, the exhibit provided the opportunity for a new reading of Trepše's work. In fact, much of his work was not generally known to the public, and this was the first showing for some of his best works. According to the art historian Zvonko Matković, who was responsible for organizing the exhibit, Marijan Trepše belongs among the most important Croatian artists of the first half of the 20th century. He was one of those who revived the style of Miroslav Kraljević, and took it closer to expressionism. Together with his contemporaries (Uzelac, Gecan and Varlaj) he brought important changes to the Spring Salon, a key part of the development of art in Croatia between the World wars. Trepše's output was diverse. He is considered one of the best graphic artists in the years immediately after World War I. In the early 1920s in Paris, classicist tendencies had emerged, with the rounded solid forms which can be seen in much of Trepše's art. Derain and Picasso were important references of the time. In the mid-1920s Trepše began to work in stained glass for which he received many commissions. His most important work Calvary (Golgota),