The Position of Czech and Slovak Art in the International Art World*

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JAROSLAV JIRA**

Artistic greatness, the seal of personal originality, and the position of art on the international scene cannot be measured according to the geographical area of the state or the size of its population. Rather, the decisive criteria should be sought in the truly individual and original contribution to international art in general. If we examine art history, we discover the true originality and world stature of the Persian minia- tures, the Dutch art of the 17th century, and, prior to that, the Burgun- dian and Flemish schools of painting. Sustained investigation would similarly discern the mature and individualistic painting and sculpture in the Czech countries at the turn of the 15th century. Despite a certain reluctance and an understandable delay, even German art historians have acknowledged the truly unusual greatness and originality of the poetic realism of the Czech school which invests its Madonnas with a certain "sweetness", admitting that the Czech school inspired, to a certain degree, the art in the neighboring countries of Germany, Austria, and Poland. This happy period of cosmopolitanism of the Czech school was un- fortunately interrupted, with great abruptness, by the Hussite wars and, with the exception of a few shining examples of the Baroque period (the painters Kupecky and Skreta, and the engraver Hollar), art in Bohemia and Slovakia remained mediocre throughout the generations of national subjugation. Even the 19th century, which saw a national as well as artistic revival in the Czech countries and Slovakia, failed to elevate the stature of the national art, despite the fact that the strongly nationalistic artists exhibited considerable technical skill and creative invention, and did avail themselves of artistic study abroad. They journeyed regularly to Munich and, after the middle of the century, in increasing numbers to Paris

* Translated by Danica M. Vanek. ** Deceased Sucy-en-Brie, February 2, 1968. 1430 Jaroslav Jira (J. Cermâk and V. Brozik, both painters of major, but hardly original, canvasses, K. Purkynë, A. Chittussi, Alfons Mucha, and V. Hynais) where they often attained official recognition in the salons and from the art critics. Perhaps one should dust off the forgotten name of the painter Josef Navratil, who rose far above mediocrity and who would attain considerable stature in critical international comparison. Similarly, the stature of the poetic genre painter of Old Prague street scenes, Jan Minarik, a pupil of Otakar Marak, who had once been misunderstood by the young school, would grow significantly were it subjected to critical synthesis. His work deserves to be compared with the best Pari- sian scenes of the young Maurice Utrillo; indeed, such comparison might well be decidedly to Minarik's advantage. The relative obscurity of both these artists is due primarily to the disinterest on the part of our art historians who throughout the years failed to arrive at a full understanding of their work. Another brilliant pupil of the landscapist Marak, Antonin Slavicek (1870-1910), perpetuated the heritage of impressionism, infusing it with a typically Czech philosophising tendency. Before his untimely death, he created several outstanding canvasses which reasserted the individualistic tradition of the young Czech art that had been founded by Josef Mânes and Mikulâs Ales. These three painters remain, however, above all in the spotlight of domestic art. At the beginning of the 20th century, with the exhibition of Rodin's and Bourdelle's sculpture in Prague, and the subsequent acceptance of several outstanding young Czech sculptors (Maratka, Kafka, Spaniel, Gutfreund) into Rodin's and Bourdelle's ateliers, the Prague public was finally introduced to European art through the works of Cézanne and Munch, effecting a radical reversal of the situation. Young Czech and, later, also Slovak artists began to make extended study tours to Paris, and found themselves in the midst of the exciting advent of Cézanne's heritage - neoimpressionism and, above all, Cubism and abstract art. Some of them, like Frantisek Kupka (1871-1957), Othon Coubine (1883-), Emil Filla (1882-1953), and Bohumil Kubista (1884-1918), settled in Paris for extended periods - Kupka for nearly six decades — and developed artistically within the hothouse of the emerging, predominantly extremist, currents of modern art. All four were true artistic personalities, endowed with rich talent, who attained perhaps the highest goals in the critical soil of Paris. Czech and Slovak Art in the International Art World 1431

Bohumil Kubista and Emil Filla analyzed and dissected the new currents, especially Cubism, avidly, sometimes perhaps with an almost scientific thoroughness. Kubista sought their origins as far back as in the œuvre of the 17th-century French master Poussin. It is significant that Poussin's careful classical discipline and refinement are reflected in the formal and often exhaustive simplification of Kubista's work. Bohumil Kubista's work is indeed an outstanding phenomenon of modern art of a truly international format. It is up to our young artistic- critical community at home, as well as abroad, to corroborate this by an avowed recognition of his work and by means of exhibitions both at home and abroad. A promising beginning in this direction was made on the eve of the war at the World Exhibition in Paris, where the international jury awarded Kubista the large gold medal - the highest award - for his collection of seven canvasses. Kubista and his friend, Emil Filla, together with Antonin Prochâzka (1882-1945) and the sculptor O. Gutfreund (1889-1927), are among the originators of an independent school which might justly be called the "Prague School of Cubism". The collective œuvre of this school, together with the paintings of Josef Capek, would introduce to the international creative arts public the truly original infusion of Czech elements into the aesthetics of Cubism - causing, no doubt, real surprise. The essentially Cubist works of Filla and Capek (Kubista died at the close of World War I) demonstrate their grasp of the new language; moreover, they have something new to say even beside and in comparison with Picasso and Braque. One French critic wrote: "If Cubism had not existed, Filla would have invented it, and if only a single Cubist remained, it would indeed be he." One of the most regrettable and unforgivable blunders of the early years of the present Czechoslovak régime has been the specific prohibition of painting in the Cubist manner. Filla, a professor at the Academy of Fine Arts, was forced, under threat of death, to paint in accord with the canons of Soviet realism. The ailing artist was unable to withstand the threats and sub- mitted obediently. The painter Josef Capek (1887-1945), elder brother of the writer Karel Capek, is an equally rare artistic phenomenon, being at the same time an educated intellectual and a practical innovator. His exquisite creative activity was cut short when he was deported to a Nazi con- centration camp from whence he failed to return. Some of his rather stylized paintings and his abbreviated art vocabulary place considerable demands on the observer, while others, on the contrary, are prompted 1432 Jaroslav Jira by everyday, home-like situations, firmly rooted in the wealth of folk- art tradition. The content and form of his work are in balanced unity and accord. The suggestive power of composition and the creative effect of such paintings as "Soumrak" (Dusk), from the tragic year 1938, command the highest critical recognition. It is inevitable that Capek's significance will be rightfully acknowledged when his striking work be- comes known to the international art public. With the aforementioned artists we should also cite Rudolf Kremlicka (1886-1932), whose original talent and admirable artistic stature were soon recognized by Elie Faure, author of the famous History of Art, who wrote a small monograph in which he asserts that Kremlicka adapted himself originally to cosmopolitan art trends without losing his typical Czech flavor. Kremlicka has nothing in common with Cubism; he concentrated rather on landscape compositions and on monumental figures of predominantly female acts which are unique in contemporary art. Kremlicka is still waiting for world recognition both at home and abroad. And yet, the outstanding French critic André Salmon had written that no French artist in the Autumn Salon could successfully compete with Kremlicka with respect to the amazing and cultivated wealth of his talent. An instinctive relationship with the creative sense of folk art is also exhibited by the glowingly colorful work of Vaclav Spala (1885-1946), another member of the generation of the "Tvrdosijni" Hardheads), which was bravely fighting for modern expression in Czech art and for the acceptance of the universal modern art language. And in that lies the novel, strong contribution of this generation to our modern cultural expression. Jan Zrzavy (1890-) has for years been an isolated phenomenon unlike any other in modern art, although he has been profoundly in- fluenced by purely modern tendencies. Despite advanced age and complete seclusion during the last fifteen years, he does not cease to surprise with a completely individualistic and almost mystical relationship to art. Formally, his canvasses belong to the symbolistic school but he attains originality through simplification, balanced coloring and, above all, the deep, innermost content of his work. The subjects of his paintings are greatly varied: angels, devils, Parisian and Prague coffee houses, Christ preaching to the women, Bretagne landscapes, Venetian architecture, etc., but all of them are imbued, despite their formal simplicity, with a delicately refined style and the magic of precious poetry. Zrzavy is an undeniable personality and an artist of unusual possibilities, as was Czech and Slovak Art in the International Art World 1433 written by the Belgian critic, E. Dermenghen, in the avant-garde revue, La nervie. The specifically Czech qualities of his work constitute precisely the outstanding plus of his general qualities; the same can be said also of another artist of this stormy generation, Oto Kubin - that is, O. Coubine (1883-) who spent over four decades of his life in France. There he won renown as a painter of truly international fame who introduced a contemporary concept of classicism. Ten monographs in several lan- guages have been devoted to his work. Toward the end of his life, although for many years a naturalized French citizen, Coubine began to long for his native land, and at the age of 70 he returned home. If we observe his work today, in perspective, we see that, although in the period between the two wars he was regarded as one of the most outstanding representatives of the young French school of painting, his Czech heritage shines through this French patine, accounting for the melancholy of his lyrical landscapes, full of tenderness and a fervent humility before nature. In this he remains, whether Provençal Coubine or Moravian Kubin, at the height of modern artistic expression. That is, however, not true of Frantisek Kupka (1871-1957), today perhaps the best-known artist of Czech origin who, despite the highest honors bestowed on him in Paris, and (even posthumously) an ever- increasing acclaim, remained steadfastly true to his Czech origin. More- over, his almost stubborn insistence on remaining true to the new manner of non-figurative expression at which he arrived at the onset of his career, echoes the brooding steadfastness of the Old Czech religious scripturalists who stood unflinchingly behind their ideas, in- herited from his mother's side. Since 1910, the date of the full maturing of Cubism, when Kupka painted "Nocturno", his first modern abstract composition, until his death he remained true to this new code of creative aesthetics. He deepened it constantly, infusing it with new elements - musical, geometric, and purely chromatic visions, compositions of horizontals and verticals, "colored fugues", arabesques, structures of area and color, colors in motion, "jazz movement", etc. His compositions enrich the world of art with a new ideological and creative contribution and ideal. They served, according to present critiques, as a front of novel inspiration long before Delauney, Wright, Russel, Mondrian, and Fernand Léger. Even the most chavinistically backward critics have by now acknowledged that Kupka is the actual discoverer and creator of abstract art that strives for an objective expression of the inner life, and that in this, his work is pioneering. The 1434 Jaroslav Jira collection of his canvasses in the Paris Museum of Modem Art and especially at the recent exhibitions in the Flinker, Renault, and Louis Carée galleries (the latter plans to transfer the collection to its New York 5th Avenue branch) will undoubtedly elevate Kupka to the top ranks of international modern art. The Prague régime which had at first relegated his paintings to a cellar has also decided now to put them on exhibition, together with the canvasses of Kupka's compatriot, Josef Sima, who, like Kupka, has been a Paris resident for nearly half of his life. The name of Josef Sima (1891-) has spread beyond the boundaries of Czechoslovakia as well; he is prominent among those artists throughout the world whose artistic expression stands between non-figurative art and Surrealism. Sima, a highly cultured painter, has fused Czech discipline and intelligence with French rationalism and creative invention. One of the most outstanding world experts on modern art, Jean Cassou, director of the Museum of Modern Art in Paris, has written, in Panorama de l'art contemporain, that Sima represents a happy fusion of two cultures, Middle European Slavic civilization and the brilliant intelligence of the French. His seventieth birthday found Sima in full creative activity; his work ranges from plans for colored vitraux compositions on glass to occasional "flights to reality", exemplified by the portrait of the poet Karel Hynek Mâcha. Despite his French naturalization and his position in contemporary French art, Sima remains close to his native heritage; his art may therefore be claimed both by the French and the Czechs. In order for creative art to cross the barriers of nationality, it is necessary first that it no longer hold to nationality per se, but to rise onto a plane of broader significance, retaining at the same time the flavor of its national elements. Thus, in the case of Picasso, one recog- nizes his Spanish heritage, just as one senses that Marc Chagall is of Russian-Israelite origin or that Modigliani is the product of Italy. Similarly, Kupka and Sima unquestionably exhibit strong Czech elements. In their case, the limits of their nationality have been harmo- niously fused with a technical maturity which is international in scope, and which places them in the van of the powerful and individualistic expressiveness of contemporary world art. The gallery of Czech artists who spent longer periods in Paris and who became intimately familiar with French art, thoroughly mastering its creative language and enriching it with their innate talent, should include the painter Frantisek Tichy (1896-1957). Tichy spent the period Czech and Slovak Art in the International Art World 1435 of his artistic development, often under adverse circumstances, in France and created there and later at home a unique œuvre - paintings and drawings from the world of the circus people among whom he lived and worked, magicians, clowns, pierrots, harlequins - full of virtuosity and imagination, chromatic as well as graphic. He certainly deserved to be named, at the end of World War II, a full professor at the Graduate School of Industrial Arts at the University in Prague but the present Czechoslovak régime simply deposed him and cast him into poverty. Only since his death has the art world of Prague apparently begun to admit its unforgivable mistake. Introduction of his work to the French and international art public and its comparison with that of his con- temporaries abroad should make clear the originality and depth of his work and win him the appreciation he deserves. During the early years of the First Czechoslovak Republic, in the period between the two World Wars, Czech artists were finally given an opportunity to discover the Western world and to acquaint themselves with the new art currents and tendencies; this unquestionably provided an unprecedented spur to the realization of their potentialities. Thus, the painter Karel Holan (1893-1953) developed a talent equal to that of Vlaminck. An especially significant role during this time was played by the artistic (as well as intellectual) society called "Devëtsil", which with respect to both the talent of its members and its adherence to current artistic tendencies placed the young art of Czechoslovakia once more into world ambiance, side by side with the imaginative art of France and Germany. The "poetism" and "artificialism" as they were called by the spokes- man of the group, Karel Teige, which pervaded the paintings of Jindrich Styrsky and his companion, Madame Toyen, gave their art a high degree of originality; they had, in fact, founded a distinct "Czech school of Surrealism", and somewhat later became the first international spokesmen of Surrealism. Jindrich Styrsky (1898-1942) died prematurely, during the war, but Toyen (1902-), since 1947 a permanent resident of France, is an outstanding representative of a completely individualistic concept of international Surrealism. Paris ranks her among its best painters. Even Prague has overlooked Toyen's emigrée status, placing her now, after years of complete silence, among those artists in whose achievement it takes a proprietary pride. The present Czechoslovak régime has placed an anathema on Sur- realism and all its adherents, some of whom (like the afore-mentioned Karel Teige and the poet K. Biebl) committed suicide as a result of 1436 Jaroslav Jira persecution, or were executed, as in the case of the newspaperman, Z. Kalandra. When we consider this the courageous attempt, in the summer of 1963, by a group of young Czech art historians to incorpo- rate the members of the "Devetsil" movement and the proponents of Surrealism into the development of Czech art deserves the attention of the free world. The planned exhibition which included the work of several purely abstract artists of both older and younger generations was carefully prepared in the gallery of the Castle Hluboka, but at the last minute the Party forbade its opening. Fortunately, the valuable illustrated catalogue was saved; it is eloquent testimony to the present- day spirit of artistic rebellion in Czechoslovakia, which should be viewed with gratification. During the war, in the midst of the German occupation, there origi- nated in Prague the "Skupina 42" (Group 42), which personified the rebellion of the Czech artists and their desire for free creative expression. It brought forward several exceptional painters who had been able to live and create in freedom before the war. The kernel of this group was composed of the art historians and theoreticians, Dr. Chalu- pecky and Jiff Kotalik, the poets, E. Blatny, Kainar, and Haukova, and Kamil Lhotak (1912-), F. Hudecek (1909-), Oto Janecek, Gross, Matal, and others, the latter, painters of varied and individualistic talents who have so far not been fully appreciated. Aside from this group was another group of painters of the same generation, among them Josef Liesler, Jan Smetana, Frantisek Jiroudek, and, above all, Karel Cerny (1912-1960), the outstanding "Czech ex- pressionist" who at the end of the war lived for several years in Paris. Although he died prematurely, his work won him a lasting place in the history of art, and careful evaluation by international art critics will undoubtedly laud him as a fitting representative of his generation. Fortunately, "Skupina 42" had the opportunity, thanks to Adolf Hoffmeister, to live and exhibit in Paris immediately after the war. And indeed, their creative effort since the years of Stalinism has not proved disappointing, but, on the contrary, shows a crystallization and individualistic development of style. A special place is occupied by Adolf Hoffmeister (1902-), whose unquestionably fine drawing and graphic talent have won him a leading place among modern caricaturists. Because he is politically in the sun, he can not only travel to the free world, but exhibit there, as well; his case is, however, quite exceptional. The young Czech art historians, headed by F. Smejkal and Vera Czech and Slovak Art in the International Art World 1437

Linhartovâ, deserve admiration because they were not dissuaded by the failure at Hlubokâ, but, in the fall of 1964, organized an exhibition of Czech Surrealist art in the Industrial Arts Museum in Prague. In it they included, not only works of the aforementioned Styrsky and Toyen, but also that of the painters, F. Muzika, A. Wachsman, Z. Rykr, and F. Janousek. This is the first attempt on the part of Prague to evaluate Czech imaginative painting in the light of West European art and to trace the general development and creative individuality of this type of art in Czechoslovakia. The contact of Czech painters with the rest of the world (with the exception of Toyen and Sima, who lived in Paris) was interrupted for a full fifteen years through the wartime occupation of Czechoslovakia and again since the onset of the Communist régime, until the early 1960's. Non-objective art was placed "on the index". Only in 1964 could a talented member of the "Devëtsil" group, Frantisek Muzika, again exhibit his non-objective compositions; the Czech section at the Venice Biennial in 1964 exhibited several of them, together with some of Zrzavy's canvasses. The young Prague art historians have therefore taken the first step toward the rediscovery of previously forbidden paintings, and the great interest exhibited in the aforementioned Prague exhibition shows clear- ly that the Czech public is truly interested in "paintings which spring from the depth of imagination". This reflects that deeply rooted brooding and philosophizing spirit of the Czech people. The organizers of the forbidden exhibition of modern art, 1900-1963, at Hlubokâ included among the Czech abstract artists, beside Kupka and Sima, Vojtëch Preissig (1877-1944) and Frantisek Foltyn (1891-) from the older generation. The former lived for a long time in the United States, the latter, in Paris. For the first time, a representative collection of modern Czech art also included the works of about fifteen young, mostly abstract, artists in their thirties. This new generation has shown a basic tendency toward experimentation in varied and original media and styles. Special attention should be drawn to the collages of Jiri Kolâr and the canvasses of Jan Kotik, J. Istler, Mikulâs Medek, Hugo Demartini, Richard Fremund, Frantisek Dvorak, and Zdenëk Sykora, among others. It is interesting to note the total absence of the Soviet type of "social realism". Contemporary postwar art in Czech countries and Slovakia suffers under the strict curtailment of free travel and the consequent isolation from artistic development in the free world. At most, eager painters 1438 Jaroslav Jira are able to obtain only occasional colored reproductions of Western art. Their paintings are thus often only second-rate derivations of contemporary artistic endeavor. This enforced stunting is the more regrettable, since the artists lack neither creative curiosity and courage for novel expression, nor technical skill; their art reflects above all the lack of a happy creative environment and of the opportunity to study abroad and to compare their own attempts with the work of foreign artists. Therefore, the painting of the old veterans like Zrzavy, Coubine-Kubin, Hoffmeister, and Muzika, who had had the opportunity to mature artistically, in freedom, are in comparison much more youthful and vigo- rous, since these artists have been able continually to tap the reservoir of original creative ideas of their youth. Although the above-mentioned names are already quite numerous, we should add the sculptors Maratka and Kafka from the older, and V. Ma- kovsky from the younger, generation, as well as two painters of German origin, Willy Novak, who has come to terms with the present régime, and F. Loevenstein, who was leaning toward Leftist principles already during the war, when he ranked among the foremost artists of the Paris school, as did J. Kars and E. Z. Eberl. Moreover, conservative art, which has been brought to a unique height by Prof. Max Svabinsky as well as Czech and Slovak graphic art, have not been discussed here, since their development has been along different lines. Art in Slovakia developed entirely independently until the end of World War I, and only during the period between the two wars was there close contact with the art in the Czech lands, when Slovak art was at the same time made acquainted with creative ideas of the Western world. Among the most important Slovak artists of the older generation whose significance transcended the frontiers belong Martin Benka and Ludo Fulla (1902-). A metamorphosis of the artistic view- point was introduced by graduates of the Academy of Fine Arts and adherents of the Prague school, Jân 2elibsky, Jan Murdoch, Mikulâs Galanda, Cyprian Majernik, and B. Hoffstaedter (1910-1954). The post-World War II generation has produced, however, such fully matured artists as Ladislav Guderna (1921-), Vincent Hloznik (1919-) (whose graphics especially are at an international level), Rudolf Krivos, Peter Matejka, Orest Dubay, V. Sivko, and V. Chmel. They interpret interestingly and individualistically the folkloristic tradition of everyday life and have lately also incorporated into their art rural and labor genre elements without limiting themselves to the class-proletarian expression of Soviet "social realism". Czech and Slovak Art in the International Art World 1439 In conclusion, to evaluate the place of contemporary Czech and Slovak art in the panorama of international European artistic development, we can refer to a comparison from the poignant French study of Dr. V. Nebesky, who characterizes Czechoslovak art as "le frère cadet de l'art français contemporain" (the younger brother of contemporary French art) - referring to a common denominator and the common goals of both artistic schools. Both are rooted in the tradition of national domestic art, although Czechoslovak art has, during the last fifty years, openly cleaved to Western art and its innovations. It is clear, however, that these ideas were not adopted blindly but, on the contrary, with a serious critical selectivity. Thus, the Czech and Slovak artists have arrived at an independent, individualistic concept of Cubism and Sur- realism, and have developed several great individualistic personages. Between the wars, Czechoslovakia organized large exhibits of Czecho- slovak art in Paris (1924, 1930, 1937), which attracted considerable attention from art critics, and resulted in a wider understanding of Czech and Slovak art abroad. Due to the unhappy political events which struck the young state it was, however, impossible to further this happy development - to bring about a reconciliation with the contemporary direction of French art to which Czech and Slovak art had cleaved for nearly four decades. A cultivated individualism far outweighed any collectivism of either style or nationality. Only one Czech artist, Frantisek Kupka, placed himself successfully among the leaders of a creative direction of non-figurative art; it is to be hoped that his name will soon belong to the roster of leading artists whose work is coveted by museums as well as by patrons of art and connoisseurs. Throughout his life, Kupka refused excellent offers, refused to protest when French and American critics showed partiality to their compatriots in evaluating their position in the abstract art field. He always declared that the tide would turn and the truth would win; today, his words are being realized. Certain Czech artists like Coubine and Zrzavy, who had considerable personal success in Paris, returned toward the end of their life to their native country. The present Czechoslovak régime has proved itself a typical bad stepmother, and has failed to give their art the appreciation it merits. More even than literature, art is above all an index of the overall maturity of a national culture. Modern Czechoslovak art, imbued with a democratic spirit, and at the same time a critically realistic, imagi- natively poetic, and supra-realistic sense, was able, during the period 1440 Jaroslav Jira of national freedom during the First Republic, and again in the years 1945-1948, to express the spiritual revival of the nation. It also suc- ceeded in establishing a firm and friendly contact with Western art, retaining its individuality while confirming its relationship with artistic universality in the best sense of the word. The darkness which descended at the beginning of World War II, and especially since the onset of the prohibition of modern artistic expression, in accordance with the Soviet Zhdanovian decrees, cruelly restrained Czech and Slovak art for a time; however, it failed to cripple it completely, as we see in the recent courageous acts of both the artists themselves who refuse to obey orders about "permitted" creative style, and the young art critics who support them openly in this rebellion. Let us hope that this movement will succeed in maintaining and strengthening its principles and attracting the well-deserved attention of the free world. The foremost task of both the Czechoslovak exile and responsible agents abroad - art critics, museums of modern art, and art galleries - is to support in any way possible the talented young artists of Czecho- slovakia, enabling them to join contemporary international artistic development, eliminating the prevalent feeling of despair and tragic isolation. In view of the present political constellation and the mentality of the leaders of the Czechoslovak régime, it is, of course, impossible to expect that contemporary Czech and Slovak art will become particularly sought after on the international art market. It is, however, legitimate to express the wish that truly objective and aware American, French, and German arts critics include Czechoslovak art in their surveys, antho- logies, art reviews, and handbooks, and judge it equally with the art of France, the United States, England, Germany, etc., since there is every evidence that Czech art often excels in both technical skill and richness of creative invention. It would be especially fitting if the Western critics were to reevaluate the artistic œuvre of those personalities mentioned prominently in this discussion, thus giving Czech and Slovak art a deserved place in the history of modern creative expression. And it is predictable that, despite Czechoslovakia's relatively modest area, its art would shine in truly individualistic power and creative originality. Czech and Slovak Art in the International Art World 1441

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