Showing posts with label Czech art. Show all posts
Showing posts with label Czech art. Show all posts

Thursday 18 February 2021

Czech Prints - Puppets



I was talking to my son this afternoon via Zoom and we came to the topic of Czech prints of puppets. As those of you who are regular followers of this blog will know, the Czechs are experts in the making of puppets. We had a wonderful puppet maker as a neighbour and I first met my friend, Hannah, when I went to her flat in London to borrow some puppets she had made. Anyway I promised my son I would share with him some of the puppet prints from my collection of Czech graphics.

The print above is by Vojtech Cinybulk (as are the three immediately below). Cinybulk wasn't just an artist of puppets, he was active in puppet theatre, which no doubt accounts for how many puppet prints he produced. 


It is not generally known in the UK that Dr Faustus was widely performed as a puppet show in Europe.




This print is by Lander.



The next two prints are by Mahulka. A regular character in children's theatre is Kaspar, a marionette boy. 



Here he is again, this print is by Grmela


and again by Borek


But this delightful little fellow has evolved from a more raucous immoral character that stems from the same roots as the British Punch. The change was driven by a change in target audience, with many middle class families having their own set of puppets.  

But puppetry in the Czech Republic has never just been for children. From the cautionary tale of Faust, through the devil-beating Kaspar, to the surreal puppets of Svankmajer, Czech puppets have always also appealed to adults. They have always had a subversive element. The Nazis suppressed puppet performances, although brave puppeteers continued to perform in secret. Over 100 puppeteers and puppet writers died under torture or in concentration camps. The Czechs rightly take puppetry very seriously.


Wednesday 20 January 2021

Czech Prints - Owls


I am mindful that I have not blogged here for a while. I have been unable to get back to the Czech Republic for a year now because of Covid 19 restrictions, which makes blogging difficult. However I do have an extensive collection (over a 1000 items) of Czech prints, mostly ex libris or PFs, which could stimulate an interesting series of posts - either about the subject matter or about the artist. 

I am going start the series with a post about a subject dear to my heart - owls. When I was nearly three, my family moved house. My father took me exploring the garden, an event that has stayed with me to this day. The previous owner had kept owls in the old stables that sat at the bottom of the garden of our rather normal terraced house and Dad showed me the pellets. The experience is the subject of the poem that gave my newly published poetry collection its title. The poem appears at the bottom of this post. 

Ever since then I have had a love of owls and it seems that the Czechs have too, as owls feature in quite a few prints in the collection. Here are a few of my favourites: 

This is by Hanak, it's just one in a number of owl exlibris by the artist.

This by Plechaty

This by Rajlich

This is by Svolinsky

And this by Bugan. 
You will notice that this ex libris and the one by Hanak are for the same patron. You often find that patrons will commission different artists to create work on their favourite themes. Dr Pribys obviously loved owls. 

In case you are wondering the print at the top of this post is by Palenicek.

Here's the poem. If you are interested in buying the book, it is called Owl Unbound and is published by Indigo Dreams Publishing -  https://www.indigodreams.co.uk/zoe-brooks/4595048690. I have a number of copies to sell (signed if you want), just email me on zoe.brooks@googlemail.com to buy a copy. 

Owl Unbound

First we found the snake
a ball of coiled skin and muscle
in a pickling jar at the base of the hedge.
 
I followed my father up
the outside stair to the stable loft,
on one side the railway signal
without a track,
on the other a brick wall,
pocked as the moon,
that would crumble
like cheese in the rain
under the thud of my ball
and send it flying sideways
escaping me.
 
The tread creaked as my father entered
and I followed into the dim.
I looked around, but saw
only an empty perching post.
The owl had gone with its master.
 
At my father’s instruction
I held out my hands
as if ready to receive bread and wine,
but into my bowl of fingers
he dropped a pellet,
a galaxy of small bones and feathers
cocooned in fur.
 
That night I woke.
The moon shredded by clouds
hung over the stable roof
and an owl called unbound
from the cypress tree.


Friday 8 September 2017

The Extraordinary Portmoneum


I gave my Australian artist friend a tour of the more unknown treasures of the Czech Republic and Litomysl's Portmoneum had to be on the list of stops. From the outside the Portmoneum is a humble single-storey house on a back street in Litomysl, but oh boy what wonders await you inside!

The story of the Portmoneum is the story of two men: one the artist Josef Vachal and the other, Josef Portmon, a teacher and a collector of art especially Vachal's. Portmon's collecting fervour bordered on the obsessive and eventually his demands on Vachal put such a strain on the relationship that the older man wanted nothing more to do with his admirer. In the Portmoneum we benefit from that fervour, for how many collectors would invite an artist to decorate every surface of two rooms in their small house – ceiling, walls and all the furniture? Even then it was not enough for Portmon who sought to commission more, but Vachal refused.


It is quite impossible to fully describe the impact of the Portmoneum. Vachal's art is vibrant, full of strong colours, metaphor and spirituality. Created in the early 1920s Portmoneum's expressionism stems from the Art Nouveau movement, but it both looks back at the Baroque and forward to today. In this his greatest work Vachal manages to combine a sense of humour with profound psychological depth. There is so much going on in the art, which literally surrounds the viewer, that it is impossible to take it all in.

Vachal has a very contemporary appeal. However it was not always so. Obviously his spirituality did not sit easily with Communism, so it was not until the late 1960's that his reputation began to recover. Even so the Portmoneum suffering from water damage was allowed to decline until the 1990's, when at last restoration began. I have visited twice and on both occasions we found ourselves alone to enjoy Vachal's amazing work.  

If you want to own a Vachal, it is quite possible to do so, as he also produced ex libris. Here is one from my collection: 

Friday 22 January 2016

Czech Ex Libris

Signed by Mirko Hanak

For my Christmas present to my husband I made a small album of Czech bookplates. I have in the past bought exlibris and other graphics for our artist son, but a few months ago my husband and I were talking about the possibility of creating an exlibris collection. We have run out of wall space for pictures and prints in our home and so a collection of small prints which can be kept in an album appeals. Many antikvariat shops will have a box or an album on a shelf somewhere in which you can find a few or many exlibris treasures. It is a way of collecting original prints, often signed, by well-known Czech artists for as little as a £ each. I know of no other way to develop such an art collection.

Signed exlibris by Plevka

I picked up a collection of 32 bookplates on a Czech auction website and another on ebay. I emailed a gallery about a collection I missed and met with its lovely art director for a coffee in Prague and came away with nearly one hundred bookplates to add to the collection. Now everywhere I go I am on the look-out for antikvariats and pop in to ask for exlibris. Yesterday my husband and I were in Plzen (where the beer comes from) and spent a happy hour sifting through two shoeboxes.

Exlibris by Michael Florian

I have included three of my favourites in this post, but I promise to post with more in future. Watch this space as our collection grows

Friday 26 November 2010

Lost in Translation


I thought I might share with you more  about what was discussed at the Lost in Translation exhibition opening, which featured the work of Czech artists and writers who live in the UK and the work of British artists and writers who live in the Czech Republic. 

The picture above is by Katia Lom who said;

I have found refuge and my own way to come to terms with this industrious city through its pockets of nature. I have come to realise that there is peace to be found amongst this bustling city and that, even within its urbanised landscape, heavens of trees and animals can be found, from an animal farm in Hackney, to the great leafy neighbourhoods of North London. These discoveries have enabled me to start feeling more settled as I have found a common ground in nature and animals.
  

It struck me that this attachment especially to trees is very Czech. The forest is very powerful in the Czech psyche, equivalent perhaps in its significance as the sea is to the Brits.


A number of the pictures referenced another profound influence on the Czech psyche - fairytales. In Hana Vojackova's artwork (above) the Little Red Riding Hood's forest becomes London's East End. She writes:

One feels that Little Red Riding Hood is fascinated and worried by wandering around in a scary and dangerous place; for her the scary place was the woods, for me it was the inner city at night. Both situations engender a tension between irrational fascination and the rational fear of what is new or undiscovered to us. It is a tension familiar to everybody, and one that is immortalized in the childrens story.


More pictures from the exhibition together with the artists' thoughts can currently be found in a  Facebook web album.

I have always admired the way the Czechs are able to accept the truth of fairytales. Many Brits would be embarrassed to talk about such "childish" things, we have put them away. But they are still there, hidden and hiding inside us and they still are "true". The reason Czech art is so strong is that it can see the world through them. We Brits have a lot to learn.


Sunday 5 September 2010

Zumberk


Zumberk is one of those well kept Czech secret places, so well kept that my Czech friend had not heard of it. She even corrected my pronunciation, thinking I was talking about somewhere else. And yet Zumberk was only forty minutes drive away.

I found a short reference to it in a guidebook and as I was passing I dropped in. I couldn't believe my eyes. There it was - a perfect fortified village with fairytale towers, standing above a still small lake. And there was more - in the manor house the South Bohemian Museum displayed a wonderful collection of South Bohemian painted furniture.


I have always coveted the examples of Czech painted furniture I have seen, but here was a treasure trove: the finest examples of the local styles. The exhibition highlighted the subtle and not so subtle differences between the folk art from different areas of South Bohemia. And the building was fascinating too.

Unfortunately Zumberk is not geared to the British visitor: it is where I was asked to translate by the guide, but then we were, we were told, the first English speaking group to visit. And they did have a folder of English translation they can give you as you walk round, which allows us to spend as much time as we want to gaze at the exhibits.

Tuesday 5 January 2010

Statues at the Monastery

After my last post about Czech religious art, I though I might share with you some lovely statues we found the other day.

In the gardens of the Dominican Monastery next to the Church of on the Sacrifice of the Virgin in Piarist Square (Ceske Budejovice) is a series of wonderful statues of religious figures. Sometimes the gate to the Garden is closed, but my husband and I found them open yesterday and wandered in. Here are some photos of what we found.

Including this rather severe St Anne!

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