Josef Sudek: TOPOGRAFIE SUTIN The Topography of Ruins

Katarína Mašterová (ed.)

Praha, 2018 Praha se změnila v město přízraků.

Prague turned into a city of ghosts.

(Ladislav Mikeš Pařízek, 1945) Obsah Content

6 Úvodem 189 Introduction Katarína Mašterová

15 Obrazový katalog Illustrations

119 Texty 191 Essays

120 Praha krvácející, Praha osvobozená. Historické pozadí vzniku souboru Josefa Sudka 191 Prague – Blood and Liberation. The Historical Background of Sudek’s 1945 Series of Photographs Adam Havlík

128 Reportáž o zničeném městě. Sudkova „Zbořená Praha“ 1945 194 A Reportage about a City Ravaged by War. Sudek’s “Ruined Prague,” 1945 Mariana Kubištová

140 Sudek v troskách. Ruiny, chaos a fragment 198 Sudek Amidst the Rubble. Ruins, Chaos and Fragment Vojtěch Lahoda

150 Uvnitř „šoku zkušenosti“. Sudkovy afektivní krajiny války 200 Inhabiting the “Shock of Experience.” Josef Sudek’s Affective Landscapes of War Amy Hughes

162 Paradoxně krásná. Praha v archivech fotografií války 204 Paradoxically Beautiful. Prague in the Archives of War Photography Katarína Mašterová

178 Josef Sudek (1896 – 1976) 213

180 Seznam reprodukcí 214 List of Illustrations

184 Autoři 217 Authors

186 Poděkování 218 Acknowledgements

Vydáno v rámci projektu „Josef Sudek a fotografická dokumentace uměleckých děl: od soukromého archivu umění k reprezentaci kulturního dědictví“ (zkráceně Sudek Project), podpořeného Ministerstvem kultury České republiky v rámci Programu na podporu aplikovaného výzkumu a vývoje národní a kulturní identity NAKI II (id. č. DG16P02M002) v letech 2016 – 2020. sudekproject.cz

Published as part of the project “Josef Sudek and Photographic Documentation of Works of Art: From a Private Art Archive to Representing a Cultural Heritage” (shortly Sudek Project) supported in 2016 – 2020 by the Ministry of Culture of the Czech Republic within the Applied research and development of national and cultural identity Programme NAKI II, id. code DG16P02M002. sudekproject.cz/en

Recenzoval / Reviewed by PhDr. Milan Pech, Ph.D.

Fotografie / Photographs © Josef Sudek, Antonín Alexander, Centropress, Jan Erban, Zdenko Feyfar, Karel Hájek, Miroslav Hák, Tibor Honty, Stanislav Hulík, František Illek, Bohumil Končinský, Karel Ludwig, Stanislav Maršál, Alexandr Paul, Helena Pištěková, Vilém Reichmann, Jan Tuháček, neznámí autoři / unknown authors. Texty / Texts © Adam Havlík, Amy Hughes, Vojtěch Lahoda, Mariana Kubištová, Katarína Mašterová © Artefactum, Ústav dějin umění AV ČR, v. v. i. / Artefactum, Institute of Art History of the Czech Academy of Sciences

ISBN: 978-80-88283-10-2 OBRAZOVÝ Illustrations KATALOG

15 Pražský nakladatel Václav Poláček vydal po skončení druhé světové války tiskem nepříliš kvalitní týdenní Pražský kalendář 1946 s podtitulem Kulturní ztráty Prahy 1939 – 1945. Ilustrovalo jej 53 celostránkových reprodukcí snímků Josefa Sudka a doprovodil text historika umění Zdeňka Wirtha. Sudkovy fotografie, reprodukovány z předtiskových pozitivů velikosti 18 × 24 cm, jsou v kalendáři řazeny bez zjevné významové či chronologické posloupnosti. Vedle snímků z obsáhlejších tematických skupin souboru – Emauzského kláštera, skladiště soch na Maninách či Staroměstského náměstí a radnice – obsahuje kalendář také fotografie, které zachycují různá válečná opatření. Jedná se například o preventivní obezdění, která měla chránit památky před leteckými útoky a jejich následky, či protipožární nádrže, které vznikaly na mnoha pražských veřejných prostranstvích pro případ nutnosti uhasit požár.

After the end of the Second World War, Václav Poláček’s Prague Publishers published the 1946 Prague Calendar with the subtitle Prague‘s Lost Cultural Heritage 1939–1945. This weekly calendar, illustrated with 53 full-page reproductions of photographs by Josef Sudek with an accompanying text by art histo- rian Zdeněk Wirth, was unfortunately printed at a less than satisfactory level of quality. In the calendar, Sudek’s photographs, reproduced from 18 × 24 cm pre-press positives, are organized without any imme- diately apparent chronological or thematic order. Besides several photographs from more extensive the- matic groups of images – Emmaus Monastery, the metals scrapyard at Maniny, or the Old Town Square and the Old Town Hall – the calendar also includes several photographs depicting wartime measures. These include protective walls built around the city’s monuments to protect them against air raids, as well as the water reservoirs built in many public places around Prague for fire-fighting purposes.

KALENDÁŘ The Calendar

17 1. Pohled z ochozu severní věže Týnského chrámu na chrám sv. Mikuláše, 1945 View of St. Nicholas Church from the gallery of the north tower of Týn Church, 1945

19 3. „Domy St. Hainze a F. Kynzla na Staroměstském náměstí, poničené za bojů 5. – 8. května 1945“, 1945 4. „Dům St. Hainze na Staroměstském náměstí poničený za bojů 5. – 8. května 1945. Pohled do podloubí“, 1945 “Houses on the Old Town Square belonging to S. Hainz and F. Kynzl damaged during the fighting of 5 – 8 May 1945,” 1945 “House on the Old Town Square belonging to S. Hainz damaged during the fighting of 5 – 8 May 1945. View of arcades,” 1945

23 15. „Socha mistra Jana Husa od Ducháčkové ze Zemědělského musea v Praze, uložená ve skladišti kovů na Maninách“, 1945 “Ducháčková’s sculpture of Jan Hus from the Agricultural Museum in Prague, stored at the Maniny metals scrapyard,” 1945

35 Jedním z klíčových momentů Pražského povstání se staly boje o Staroměstskou radnici, v jejichž důsledku byla budova značně poškozena. Devastující požár 8. května 1945 zničil nejen novogotické křídlo radnice, které muselo být později strženo, ale také zde uložený cenný městský archiv; poničen byl částečně i orloj či gotický arkýř radnice. Sudkovu pozornost přitáhly některé detaily tohoto objektu, zejména velké okno historické budovy. V souboru těchto snímků si lze povšimnout průniků se Sudkovými proslulejšími foto- grafickými cykly, vznikajícími ve stejné době. Druhá světová válka znamenala v díle tohoto fotografa jistý přelom a obrat k intimnějším tématům, mezi něž patří například výhledy z okna jeho újezdského ateliéru.

A key moment of the Prague Uprising was the fighting around the Old Town Hall, as a result of which the building suffered serious damage. A devastating fire on 8 May 1945 destroyed not only the building’s neo-Gothic wing (which later had to be demolished), but the valuable town archives as well. Also dam- aged were the astronomical clock and the building’s Gothic oriel window. Sudek’s attention was drawn to various details of the building, such as the great window of the historical building. This set of photographs shows certain similarities with Sudek’s more famous photographic series created at the same time. The Second World War represented a turning point in Sudek’s work and a turn to more intimate subjects such as his views from the window of his studio on Újezd Street.

STAROMĚSTSKÁ RADNICE The Old Town Hall

99 62. „Pohled s ochozu Týnské věže k Staroměstské radnici zničené za bojů 5. května 1945“, 1945 “The Old Town Hall damaged during the fighting on 5 May 1945; view from the tower gallery at Týn Church,” 1945

101 68. Průhled novogotickým křídlem Staroměstské radnice na kříž z ohořelých trámů – dočasný památník za padlé, 1945 69. Poškozený gotický arkýř Staroměstské radnice a čestná stráž u kříže padlým po skončení Pražského povstání, 1945 Cross made of charred beams (provisional monument to the fallen), seen from the neo-Gothic wing of the Old Town Hall, 1945 Damaged Gothic oriel window of the Old Town Hall and honor guard by cross for the fallen after the Prague Uprising, 1945

109 70. Hlavní schodiště historické budovy Staroměstské radnice poničené za bojů Pražského povstání, 1945 71. Velké okno historické budovy Staroměstské radnice, 1945 Josef Sudek, Main staircase of the historic building of the Old Town Hall damaged during the Prague Uprising, 1945 Large window of the historical building of the Old Town Hall, 1945

111 TEXTY Essays

119 Katarína Mašterová the Emmaus Monastery, which had constituting an aspect of history is then photograph repeatedly. They been reduced to ruins. analyzed for example by Elizabeth often attracted him with a beauty Introduction Josef Sudek does not expose Edwards, within the context of a found only in the ravaged, in chaos us to imagery of the horrors of war phenomenological perception of and in rubble, is hardly surprising that we might flinch from – unlike place, based on analyses of local in the context of Sudek’s work. for example the officially appointed photographic excursions. These A similar enthrallment can be “When there are photographs, documentarian Stanislav Maršál or do not reduce photography to seen in the way he photographed a war becomes ‘real’,” writes reporters who photographed street an object or an image, instead the decay and death of material Susan Sontag in her essay on war scenes from the Prague Uprising.6 seeing it as a process resulting objects in his still life images photography.1 Photographs of His testimony is moderate and even from the physical experience starting in the 1940s, made up Prague ravaged by war also help compassionate – with an absence of a concrete historic time and of things found in his immediate preserve the memory and serve as of human bodies instead showing space by the photographer.13 If surroundings.17 a reminder for future generations (particularly in his images of the we eschew polemics regarding The second part of the cata- of the most destructive conflict in Old Town Square) the return of life the objectivity or subjectivity of logue is conceived as a collection modern Czech history. Regardless to the rubble, with the survivors place as a tangible space, we can of stand-alone essays intended to of the original intention of these looking on in grief and disbelief, regard place as something which assist a multi-layered reading of photographs, they have now rather than in horror. Sudek may bears a specific experience, and Sudek’s series of 1945 photo- become an invaluable historical have remembered a sense of new its record we make (a visual record graphs. In his introductory text, resource. When looking at various hope – he had survived the First in the case of photography) can be historian Adam Havlík provides photographs dating from the pe- World War, in which he lost an arm, seen as a source of both historical a brief overview of the context of riod of the Second World War or its and thus had already experienced information and social meanings. historical events in Prague in 1945, immediate aftermath – journalist, postwar euphoria before (if indeed One of the possible readings that in order to help us understand the documentary, scientific, adver- one may thus refer to the time he Sudek’s series offers is connected photographs and the situations in tisement, portraits, street scenes, spent recovering in the Prague with this renewed practice of which they were created. Mariana or even still life images – one Invalidovna).7 His photographs can national heritage photography, and Kubištová gives a comprehensive cannot avoid assessing them in the be read as testimony of the need is thus mnemonically constitutive. description of Sudek’s series and context of received ideas about for a new beginning, where one Whereas Sudek’s photographic the artistic and historical context the period atmosphere and the must first of all find acceptance and excursions to photograph Prague from which it emerged, as well as situation of the war. Ideological, reflect on a sense of loss. during the Nazi Protectorate contain the subsequent life and uses of the moral or political connotations are Many theorists and photo- within them also the tension of individual images. In particular she implicitly encoded into our reading graphers pointed out in the 1940s potential destruction, and a sense details the commission of photo- of such images. that documentary photo- of responsibility for preserving graphs for the calendar published The wartime and postwar topog- graphy, already popular at the their current form in visual images by Václav Poláček. Vojtěch Lahoda raphy of Prague as photographed time, functioned above all as a (he photographed mainly St. Vitus analyzes the motif of the ruin, and by Josef Sudek presents a record testimony of the photographer Cathedral or Prague Castle), his in doing so he reveals the Surrealist of the condition of the city and its himself, being as such subjective postwar exploration of damage and aspect and subversive aesthetics monuments, its inhabitants and in nature.8 Although Sudek was a loss releases this tension, trans- of Sudek’s photographs. Amy their situation in 1945.2 Several commercial photographer (and in forming photography into a neces- Hughes offers an interpretation of hundred large-format negatives fact he approached the subject sity – necessary both as evidence Sudek’s images from the center of taken with a sturdy camera does of war-torn Prague at least partly and “archeological” documentation, Prague, featuring its citizens look- not represent an ordinary image of as a professional commission), and also as a record of memory.14 ing on at the destruction of their war. The technical devices of the his openly personal involvement, In this sense, Sudek’s 1945 series city, in the context of the theory of 1940s had already made possible expressed in pausing to meditate as a whole, as well as the individual affect. Finally, Katarína Mašterová rapid-fire, dynamic reportage shots. upon certain locations, was a photographs themselves, represent presents a comparison of Sudek’s Sudek, on the contrary, offers guarantee of the compelling a form of “memorial,” the outcome series with photographs of Prague us static, impeccably composed aesthetic qualities of the series. of a certain cultural and social in 1945 by other photographers photographic records that can Sudek’s keen personal interest process and the personal, physical and from other archives, suggest- be read on multiple levels. This is is evident particularly in those experience of the photographer’s ing four possible frameworks for suggested already by the sporadic cases where he photographed a interaction with a specific place. reading them. earlier references to individual scene repeatedly, not simply in Although the number of In spite of the absence of the images from the series,3 and further a single shot. His personal love Sudek’s photographs of Prague in depiction of action, Sudek’s images elaborated by the essays in the for the city, which throughout his 1945 presented at the exhibition can be defined as war photogra- present book, by Adam Havlík, Amy life remained a subject matter he is considerable (selected from the phy – they are emotive and poign- Hughes, Mariana Kubištová, Vojtěch fondly revisited,9 adds a specific 367 negatives and 179 positives ant, and could be termed as para- Lahoda and Katarína Mašterová. dimension to the collection of which comprise the series and doxically “beautiful.”18 They do not Although the catalogue offers photographs. “Love for photo- which were available in the Czech present a nostalgic lingering over several possible ways of looking at graphy – love for one’s home,” collections), a comprehensive the ruins of the past, but a record of Sudek’s photographs, in terms of reads one of the wartime essays topographical method comparable actual war crimes, although these the exhibition we decided to present of the photographer Jaromír with those used by photo-docu- are sometime also the side effects the collection above all as a form Funke,10 Sudek’s friend and fellow mentarists from heritage institu- of war (the bombing of Prague in of historical topography. This is native of the Central Bohemian tions15 is absent from the February 1945 was caused by a reflected also in the structure of the town of Kolín, who in fact tragi- exhibition. The first section, navigation mistake).19 In our present section of illustrations in the present cally perished as a consequence entitled “The Calendar,” collects time, where photographs of war catalogue, where the photographs of war.11 Together with Sudek and the results of the commission are omnipresent, Sudek’s images are accompanied by short accom- other photographers (e.g., Josef undertaken for the publisher are no longer shocking. The visual panying texts from the exhibition.4 Ehm, Karel Plicka, or Jiří Jeníček) Václav Poláček, showing the overload of our time has taught us The photographs viewed as an Funke, who was also a theorist topographic range of the work – “not to see” – rather than “not to entirety reveal how systematically and pedagogue, pursued the and thus serves as a sort of look,” as Susan Sontag declared Sudek depicted the ruins of Prague newly-relevant photographing of summary of Sudek’s movements in 2003.20 The emotional impact of buildings destroyed in the air raid national landmarks. The patriotic around Prague.16 The remain- these now historical images has of 14 February 1945 and during the commitment of documenting ing four chapters offer detailed changed as well – their psychologi- attacks by the occupying forces national heritage present in the analysis of the sites where Sudek cal effect which acted so powerfully during the Prague Uprising in May 19th century photography re- stopped to contemplate with his on the generation who lived through 1945, as well as the remnants of ceived a new impetus as a result camera: the Emmaus Monastery, the war (in the Czech context certain wartime measures (for ex- of the wartime threat to national the Protectorate-era scrapyard see for example the writings of ample protective walls built around identity.12 These photographs of metal sculptures and bells photographer Eugen Wiškovský),21 monuments, water reservoirs for gained crucial significance when at Maniny, the historical city has now transformed itself into extinguishing fires in city squares, the national heritage landmarks centre featuring the people of some form of numbed nostalgia or a scrapyard of dismantled metal photographed for the purpose of Prague – the “bereaved” of the compassion. We no longer experi- statues and bells). His topographic preserving them for future mem- war, and finally the Old Town Hall, ence the same sense of imminent range was reflected already in the ory in any situation of potential the fire-ravaged icon of postwar threat. But the more abstract that commission which may have pre- danger were in fact damaged or Prague. This structure of the exhi- this sense of danger becomes in sented an impulse for his embark- destroyed due to fighting. Sudek bition is reflected in the illustrated the present time (hacking attacks, ing on this series of photographs – thus photographed some of the section of the present catalogue information war, the threat of power the illustrated calendar for the year buildings twice: once while still and corresponds with the fact blackout, nuclear arms industry, the 1946, accompanied by texts by standing, and then as ruins. that a comprehensive survey of ruthlessness shown by multi- the art historian and monument Historical topography as we the wartime losses suffered by national corporations to cultural and preservationist Zdeněk Wirth.5 know it from the early beginnings Prague, or the wartime protec- natural heritage), the photography Sudek’s “topography of ruins” of the medium of photography tive measures, as presented in of the tangible consequences refers to both the photographer’s simultaneously alludes to both its “The Calendar,” does not make up of past conflicts become all the movements through Prague, and significance and character, often the larger part of Sudek’s series. more important, something to be his very personal, manifold and connected with historical imag- On the contrary, Sudek sympto- remembered – as a memento that contemplative depiction of the ination or memory. The practice matically paused in places that any potential new conflicts can also individual buildings – particularly of of photography as an activity attracted him, where he would have unimaginable consequences. 189 Josef Sudek’s contemplation 5. Josef Sudek – Zdeněk intentional and unintentional Fotografický obzor XLIX, Adam Havlík war the Czech territories were to rights and people being displaced of the traumatized state of the Wirth, Pražský kalendář historical statements 1941, no. 3, pp. 26 – 27; Idem, be settled by Germans. Depending from public life by the so-called world in 1945, until now buried in 1946. Kulturní ztráty Prahy reveals the processual “K psychologii fotogra- Prague – Blood and on race and persuasion, some sub- Nuremberg Laws. At a later the archives, offers hitherto un- 1939 – 1945 (1946 Prague nature of photographs and fického účinu” Liberation. The Historical jects of the Protectorate were to be stage, people were systematically known retrospective views on the Calendar. Prague’s Lost memory making through (On Psychology of Background of Sudek’s re-educated and Germanized, and rounded up and deported to condition of the urban landscape Cultural Heritage the experience of Photographic Effect), others to be deported to the East. concentration camps.8 Nor was of Prague. These documentary 1939 – 1945), Pražské photographic practices Fotografie IV, 1948, no. 1, 1945 Series Still others were to be categorized the fate of the cultural heritage photographs represent complex nakladatelství V. Poláčka, themselves.” Elizabeth pp. 1 – 3. of Photographs as fit for labor but without being related to the Jewish community images that now open themselves Praha, 1945. Edwards, “Out and About: allowed to have children. Another much luckier. This is exemplified to the gaze of the contemporary 6. See Jan B. Uhlíř, Bomby na Photography, Topography, category yet was condemned to by the Vinohrady Synagogue, 3 viewer. At a time of the relativiza- Prahu. Nálety z roku 1945 and Historical Imagination,” physical liquidation. one of the largest and most tion of cultural values, where (par- objektivem Stanislava in: Olga Shevchenko, ed., In public life, Germans and the sumptuous buildings of its kind at 80. Unknown author, “The Dvořák ticularly in this country) it is above Maršála (Bombs upon Double Exposure. Memory German language held a privileged the time. [Fig. 8] From November Embankment as seen from Letná all greed on the part of developers Prague. The Air Raids of & Photography, status within the society. Everyone 1941 onward it was used to store Park,” 1945 that causes an irreversible loss of 1945 Photographed by Transaction Publishers, else became a second-class the belongings of deported Jews. cultural heritage, Sudek’s series Stanislav Maršál), Prostor, New Brunswick (New citizen, entitled to fewer rights than At the same time, it served as the for example, a protective casing invites us to contemplate not Praha, 2011; Václav Buben, Jersey), 2014, pp. 177 – 209, the local Germans, who acquired depot of the Nationalsozialistische enveloped the Royal Oratory, the simply the destruction of material ed., Šest let okupace Prahy cit. p. 178. citizenship of the Reich.4 Czech Volkswohlfahrt, the National- Royal Tombs, and the Triforium heritage, but also the values (Prague: Six Years of 14. In 1940, Zdeněk Wirth universities were closed as early -Socialist People’s Welfare organ- Busts, as shown by Sudek’s inherent to our society. The build- Occupation), Osvětový published a book titled as November 1939, in reprisal for ization.9 The synagogue sustained photographs.13 [Fig. 11] Some ing blocks of historical monuments odbor hlavního města Stará Praha. Obraz města student demonstrations that had heavy damage during the Allied artistic landmarks were dismantled scattered in pieces – bricks, Prahy, Praha, 1946. a jeho veřejného života broken out following the death of air raid of 14 February 1945. To during the war and taken away to charred beams, skeletons of build- 7. For Sudek’s detailed bio- v 2. polovici XIX. století Jan Opletal, a student of Charles make matters worse, the Nazis Nazi Germany. One site, which ings laid bare, torsos of broken graphy, see: Anna Fárová, podle původních fotografií University’s Faculty of Medicine. deliberately prevented efforts to served specifically for wartime statues – speak to us through Josef Sudek, Torst, Praha, (Old Prague. Picture of a Nine students were executed, and extinguish the fire raging in the purposes, was the scrapyard for photography about lost spiritual 1995. City and Its Public Life in another 1,200 hundred deported building after the raid. After the bells and metal statues at Maniny 78. Tibor Honty, Sculpture of the and cultural content, in an appeal 8. E.g., Josef Ehm, the Latter Half of the 19th to concentration camps.5 Those war, the damaged building was in Prague, near the Libeň Bridge.14 Clash of the Titans at the entrance to reclaim it. “Fotografie a její účel” Century Based on Original deemed politically inconvenient fell torn down, despite protests from [Fig. 32 – 39, 41 – 45] From here gate to Prague Castle with a swastika (Photography and its Photographs), J. Otto, victim to brutal repression, particu- the Jewish Community (1951).10 German river barges carried requi- in the background, 1940s Function), Fotografický Praha, 1940, which had an larly if tainted with any shadow of sitioned bells to northern Germany obzor, issue 1, 1940, p. 1; unquestionable educative Apart from their artistic and docu- suspicion of involvement with the The Changing Cityscape and its to be smelted down for the war Translated by Barbora Štefanová cited from Tomáš Pospěch, significance in terms of the mentary value, the images created Czechoslovak resistance. Ordinary “War Structures” industry. All church bells were and Keith Jones. ed., Česká fotografie contribution of photography citizens also lived in constant fear requisitioned by the government by Josef Sudek unquestionably 15 1938 – 2000 v recenzích, to the history of the city also have added importance as a in the ever-present threat of perse- During the Protectorate, Prague did directive from 1941. Detailed 1. Susan Sontag, Regarding textech, dokumentech and its landmarks. More on historical resource. They capture cution on anonymous denunciation. not escape a variety of rebuilding directives regarding the mandatory the Pain of Others, (Czech Photography Sudek’s photographs of scenes of Prague at a highly Some, however, collaborated for that changed the nature of public confiscation of bells were issued Picador – Farrar – Straus 1938 – 2000 in Reviews, monuments see Mariana dramatic time, as the city had only various reasons, and contributed to space. Some of the buildings by the Ministry of Trade, Industry and Giroux, New York, Texts and Documents), Kubištová’s essay in this just began to recover from blows the general oppressive atmosphere photographed by Sudek could not and Business one year later. These 2003, p. 104. Dost, Hranice, 2010, catalogue. sustained during the events at the of fear. have arisen in circumstances other specified the procedures regarding 2. These photographs by pp. 27 – 28, with further 15. See Katarína Mašterová’s very end of the Second World War. An important landmark in than the war. This was the case the reporting and handover of Josef Sudek form part of reference to Jaromír Funke. essay in this catalogue. Although throughout most of the the history of the Protectorate for example of the water reservoirs bells, introducing a classification of the collections of the Photo 9. Sudek is often given the title 16. Places documented by war, the city had been spared the of Bohemia and Moravia located in public squares, of bells into four categories by artistic Archive of the Institute of “the poet of Prague,” see Sudek in 1945 Prague was the assassination of which several dozen were built and historical value.16 destruction of warfare suffered by 11 Art History of the Czech for example: Anna Fárová, comprises a detailed online other countries directly at frontlines the acting Reichsprotektor, in Prague. [Fig. 2, 13] Their Nazi policies in the Protectorate Academy of Sciences, Josef Sudek. Poet of map available at: http:// and battlefields on their territory, Reinhard Heydrich, carried out purpose was to serve as water of Bohemia and Moravia also which houses 367 Prague: A Photographer’s www.sudekproject.cz/en/ as a result of air raids in 1945, by a group of Czechoslovak reservoirs for extinguishing fires included the deliberate re-writing negatives and 6 positive Life, Aperture, New York, map as part of the outcome and then again in the last days paratroopers on 27 May 1942. in the event of air raids. Some of the historical memory of Czech prints from Sudek’s series 1990. of the NAKI II Project. The before the final capitulation of the Heydrich, the head of the feared remained in place for a long time society. These efforts took very of Prague photographed in 10. Jaromír Funke, locations marked include Third Reich, Prague sustained Reichssicherheitshauptamt after the war. Fear of air raids also concrete forms in the public 1945, documenting the “Fotografujeme domov” all of the sites Josef Sudek considerable material damage as (Reich Main Security Office) was prompted measures designed space, such as – among other destruction suffered by the (Photographing Our photographed in 1945, 1 the highest-ranking Nazi to be to protect important buildings or things – the renaming of streets well as loss of life. The territory of 17 city in the Second World Homeland), in: Ročenka based on the surviving the Protectorate was the setting assassinated during the Second valuable artistic landmarks from and squares or the removal of War. More original prints Česká fotografie 1940. body of negatives. of some of the very last wartime World War. One of Sudek’s damage in case of bombing. The statues or monuments which the from these negatives also Země česká, domov můj, 17. See Fárová, Josef Sudek operations in Europe – fighting photographs depicts the Church Prague Heritage Office played an occupation authorities feared exist in other collec- (Czech Photography (op. cit. 7), pp. 133 – 145; continued in Prague for more of Sts. Cyril and Methodius, important role here, with Professor might arouse nationalist senti- tions; for more detail see Almanac 1940. Czech Vojtěch Lahoda, “Chaos, than a week after the Red Army where the paratroopers hid after Karl Friedrich Kühn as its head, ments. One such example was the essay by Mariana Lands – My Home), Politika, Mess and Uncertainty: captured Berlin. carrying out the assassination, appointed in 1942. With the contri- the František Palacký Monument. Kubištová in this Praha, 1941; cited from: Josef Sudek and and where in the end they died bution of other figures involved in The statue of this National Revival catalogue. Pospěch, Česká fotografie Surrealism,” Papers of fighting, vastly outnumbered by heritage protection and negotia- figure had been damaged during The Protectorate of Bohemia 3. Apart from a brief mention 1938 – 2000 (op. cit. 8), Surrealism, issue 3, Spring the enemy.6 The consequences tions with the German authorities in the war, dismantled and then and Moravia in Anna Fárová’s book pp. 55 – 57, cit. p. 57. 2005, pp. 1 – 18. of the assassination, devised Prague, a list of protected buildings hidden between 1942 and 1945.18 Josef Sudek, Torst, Praha, 11. As a result of the air raid 18. “But the landscape of Before Prague was finally liberated by British intelligence with the was compiled, as well as a system After the war, Sudek photographed 1995, p. 95, these alarm on 16 March devastation is still a by the Red Army on 9 May 1945, approval of the Czechoslovak for ranking these monuments into not only the statue itself, but also photographs are discussed 1945, Funke, who suffered landscape. There is beauty its citizens had to live through six exile government in London, were several categories of protection. the site where it originally stood only by Vojtěch Lahoda, from an acute inflammation, in ruins.” Sontag, years of occupation, which exerted twofold. Internationally, it brought and where it was re-installed later. “Seeing ‘Around the could not be operated on Regarding the Pain of a heavy toll on the Czech lands. about a crucial turning point: the [Fig. 36 – 40] Similarly, Sudek also Corner.’ Josef Sudek and time. He died as a Others (op. cit. 1), p. 76. assassination contributed to the photographed the empty pedestals [Fig. 78] As early as October ‘Uncanny’ Photography?,” consequence; Antonín 19. See Adam Havlík’s essay in 1938 the Munich Agreement had decision of the European powers of the statues of Svatopluk Čech Centropa IX, 2009, no. 1, Dufek, Jaromír Funke. this catalogue. stripped Czechoslovakia of large to declare the Munich Agreement and Karolína Světlá [Fig. 46], or pp. 55 – 68; Idem, “Praha po Between Construction and 20. “Shock can become areas of its borderland with a invalid, and after the Second the sculptural groups Lumír and bombardování 1945” Emotion, Moravian familiar. Shock can wear predominantly German-speaking World War Czechoslovakia was the Hymn and Přemysl and Libuše. (Prague After the Bombing Gallery – Kant, off. Even if it doesn’t, one population. The following year, listed as among the countries These sculptures portraying of 1945), in: Hana Rousová Brno – Praha, 2013, p. 191. can not look.” Sontag, Nazi Germany ended the short of the victorious Allied camp. themes of old Czech legends were et al., Konec avantgardy? 12. On wartime national Regarding the Pain of life of the so-called Second The immediate reaction of the damaged during the air raid of 14 Od mnichovské dohody ke heritage photography see Others (op. cit. 1), p. 82. Republic by military occupation. German occupying powers in the February 1945. [Fig. 5 – 6] komunistickému převratu Antonín Dufek, Česká 21. See Eugen Wiškovský, The Protectorate of Bohemia and Protectorate to this daring feat, (The End of the Avant- fotografie 1939 – 1958 ze “Tvar a motiv” (Form and Moravia was established by decree however, was savage. The period Air Raids -Garde? From the Munich sbírek Moravské galerie Motif), Fotografický obzor on 16 March 19392 and was seen following the assassination, Agreement to the v Brně (Czech Photography XLVIII, 1940, no. 10, pp. by the Nazis as one of the most known as “Heydrichiáda,” brought 79. Jan Erban, “The Old Town’s The air raid carried out by the allied Communist Putsch; 1939 – 1958 from the 109 – 113; Idem, important production zones within on a wave of arrests, executions astronomical clock on the morning air forces in February 1945 was exhibition catalogue), Arbor collections of the Moravian “Dezorientace v názoru na and deportations to concentra- of 5 May 1945, before its destruction a tragic event for Prague and its the territories they had annexed 19 vitae, Řevnice, 2011, Gallery in Brno, exhibition fotografii“ (Disorientation or conquered. Local resources, tion camps. The total number of by the occupiers,” 1945 inhabitants. Between 13 and 15 pp. 122 – 123. catalogue), Moravian of Views on both financial and material, were victims of persecution related to February, four waves of massive air 4. The illustrations in the Gallery, Brno, 1998, pp. 3 – 4; Photography), Fotografický systematically siphoned off to the assassination is estimated at The practical impact of this strikes wreaked destruction upon present catalogue feature Pospěch, Česká fotografie obzor XLVIII, 1940, no. 11, serve the needs of the Third Reich. more than 2,000 people, including initiative was that protective walls the city of Dresden in Saxony. On only a selection of 1938 – 2000 (op. cit. 8), pp. 125 – 126; Idem, This exploitation heightened in the victims of the two villages or shields were erected around se- 14 February, inclement weather photographs from the pp. 54 – 55 (commentary on “Zobrazení, projev subsequently razed to the ground lected buildings, particularly in lo- caused a navigation mistake, and intensity after the outbreak of the 7 exhibition, and only those Jaromír Funke’s article a sdělení” (Representation, Second World War in September in reprisal, Lidice and Ležáky. calities such as the Prague Castle, part of the attacking air force, by Josef Sudek. Selected “Fotografujeme domov” / Expression and Message), 1939. The Occupation authorities One of the most tragic Vyšehrad, the New and the Old sixty-two heavy B-17 bombers, images by other photo- Photographing Our Fotografický obzor XLIX, chapters of the history of the Towns of Prague, and the Lesser dropped their bombs on Prague. introduced a system of rationing 12 graphers, also included in Homeland). 1941, no. 1, pp. 2 – 3; Idem, and many people were deployed Protectorate is doubtless the fate Town. [Fig. 58, 79] Similar Some of these fell in the area of the exhibition, are featured 13. “It is a proces in which “Oproštěním k projevu” for forced labor in Germany itself of the Jewish population. The structures also “decorated” the in- Radlice, Jinonice and Smíchov. next to the catalogue memory, or more precisely, (Through Simplicity (so-called Totaleinsatz). According repressions against Jews first teriors of buildings. In the St. Vitus The area that suffered heaviest essays. perhaps the making of towards Expression), to Nazi plans, after the victorious took the form of curtailing of civil Cathedral at the Prague Castle, bombing, however, was the stretch English Translation 191 Mariana Kubištová harmless form of artistic expres- A Catalogue of Cultural Losses extensive fire damage, two thirds the “bridges” by which the motifs build falsework, shelters, and contemporaneity of the items sion, but for the country’s Czech of the vaulted ceilings collapsed, from his contemporaneous artistic various protective structures,27 it sold. In order to promote the A Reportage about inhabitants it represented a subtle Václav Poláček was probably and the monastery – including the photography make their way into which Josef Sudek documented gallery’s catalogue, he once again a City Ravaged by anti-German act imbued with the also at least partially responsi- priceless medieval murals in the his images of Prague. Here, too, in his photographs: for instance, made use of photographs by Josef hidden symbolism of national pride ble for initiating the creation of cloister – was seriously damaged Sudek focused his lens on win- the protective walls built around Sudek, who nevertheless con- War. Sudek’s “Ruined and patriotism. Many photographs Sudek’s set of photographs of by fire.21 Sudek photographed the dows, such as the large window of the valuable stone monuments tinued to work for Krásná Jizba. Prague,” 1945 taken of Prague during the war Prague monuments damaged or monastery from Palacký Bridge the Old Town Hall, whose broken inside St. Vitus Cathedral, the When Poláček was forced to leave were published in attractive destroyed during the war – mostly and from today’s Na Moráni Street window panes and torn pieces of astronomical clock in the Old this job in 1942 for political rea- photographic books, though many towards war’s end, either during to the north, and also took various fabric look out onto the destruction Town, and the Ministry of Foreign sons, he founded Václav Poláček’s were not published until after the the mistaken Allied bombing of close-ups of the exterior, including wreaked by the fighting outside. Trade on the corner of Sanytrová Prague Publishers, which was 84. Josef Sudek, “Hradčany and the The wars of the 20th century had war. One early example, Prague 14 February 1945 or during the the Chapel of Sts. Cosmas and [Fig. 71 – 74] Other photographs (today 17 November) and Břehová headquartered at his Functionalist Lesser Town as seen from Petřín Hill,” a strong impact on the life of in the Photographs of Karel Plicka Prague Uprising in early May 1945 Damian. He paid even closer taken nearby are notable for Streets.28 [Fig. 11, 58] Other villa in Prague’s Baba neighbor- double-page spread from Rudolf photographer Josef Sudek. The (1940), offers a sampling of the – and of places that had been attention to the buildings’ interiors Sudek’s interest in human staffage. preventive measures, which often hood. The company published Rouček’s Pražský hrad, výtvarné dílo First World War, which Sudek ac- work Plicka did for the State changed, damaged, or completely (the cloister, the cloister garden, “People as a subject began to dis- influenced the appearance of books on art and art history, once staletí (Prague Castle, Art Work of tively participated in as a soldier Institute of Photogrammetry (Státní destroyed during wartime.16 the chapter house, the church’s appear from his photographs in the public areas in Prague for many again featuring the photographs of Centuries), 1945 in the Austro-Hungarian army, fotoměřičský ústav) in 1939 – 1940.6 The Photo Archive of the Czech interior, the Imperial Chapel), where late 1920s even though they had years after war’s end, included the Josef Sudek.31 not only resulted in his lifelong Other books on Prague were Academy of Sciences’ Institute of he was drawn to the chaotic nature previously populated his photo- construction of water reservoirs After the war, Václav Poláček invalidity but also strengthened published after the war, including Art History contains 367 negatives of the ruins, the damaged furniture, graphs of Invalidovna, Stromovka, for firefighting purposes. Sudek sought to look back on this tragic his previously minor interest in the posthumous publication of of these subjects taken at that time. early signs of repair efforts, and and the Kolín Island series. Later, photographed these on Charles period. “It was one of my stubborn photography. The Second World Jaromír Funke’s Prague Churches Positive prints of these photo- the play of light as it penetrated they appeared only in portraits.”24 Square, Old Town Square, Lesser ideas that after the war we would War left its traces primarily on the (1946), Jiří Jeníček’s St. Vitus graphs are scattered throughout into the building. [Fig. 16 – 31] This And yet Sudek here returned to Town Square, Hradčany Square, look back and inspect the wounds nature of Sudek’s work, which Cathedral (published in 1947, the various Czech and foreign collec- sense of captivation is also visible in his beginnings, photographing Kinský Square, and in front of that this war had inflicted on our took on a more intimate character book contained images taken in tions,17 although some of them several of Sudek’s other images of not just the buildings but also the City of Prague Museum. lives, our health and freedom, during the war as he gradually 1942 – 1946), and Jindřich Marco’s had until recently been considered religious monuments, for instance in individuals and crowds of people [Fig. 2, 13] Other reservoirs (there and our economic and cultural moved away from the objective Romantic Prague (1948).7 anonymous documentary photo- his early series Svatý Vít (St. Vitus) on the square.25 We find a similar, were 67 in total)29 were located on values.”32 And so, working for representation previously required Josef Sudek, too, photo- graphs of wartime and postwar (1924 – 1928) [Fig. 86], his later reportage-like, approach (i.e., the Bethlehem Square and Náměstí the Union of Booksellers and 85. Josef Sudek, The Villa Portheimka by his many commercial projects. graphed Prague’s monuments Prague and Sudek’s authorship images of the St. Vitus Cathedral use of staffage) in Sudek’s other Míru (Peace Square), in Svatopluk Publishers (Svaz knihkupců a garden and the garden at Klamovka, His photographs of Prague’s during the war, creating hundreds had been unknown. The works from the 1940s, and his photo- photographs of buildings damaged Čech Park, the Francisan Gardens, nakladatelů), he put together plans double-page spread from Zdeněk war-damaged monuments, many of images “predominantly charac- range from straight-forward graphs of the modern Church of during the Prague Uprising, such and the Loreto Gardens, and at for four Books of Mourning, “which Wirth’s Pražské zahrady (Prague of which were taken soon after the terized by expertly depicted ob- documentary photographs to St. Wenceslas in Prague-Vršovice as the houses on Malé Náměstí the foot of Vítkov Hill near today’s I wanted to publish on my own, Gardens), 1943 end of fighting, can be considered jective reality and a literal, official, fragmentary or abstract close-up from the 1930s.22 [Fig. 87] (Little Square) and Celetná Street, Army Museum. Some were filled and which would encompass our a summary of his wartime expe- and ceremonial portrayal”8 that in images. The second group of images the building on the upper corner in after the war, while others were losses in terms of those executed, riences. They are representative many cases was perfectly suited In terms of subject matter and from 1945 depicts buildings dam- of Wenceslas Square, and the redeveloped into ponds. killed or tortured to death, victims of his work at the time and reflect (often without Sudek’s intention or location, the photographs can aged during the Prague Uprising National Museum. [Fig. 47 – 61] Several other images outside of air raids, and lives lost in battle the motifs offered by life during effort) to the aforementioned patri- be classed into several groups. and by retreating German forces. The third larger group of these categories, all of them doc- by all Czechoslovak military units, wartime. otic context. One early wartime ex- The first consists of images of These photographs include the photographs from 1945 consists umentary in nature, are interesting losses of freedom and health, Although, in his own words, ample is the bibliophile edition For places struck by Allied bombs on large set of images of the damaged of images of various dismantled from a purely historical perspective. […] economic losses, seizures, Josef Sudek had been interested in Prague 1939. The book, published 14 February 1945. Sudek took buildings on the Old Town Square, metal statues at a scrapyard Among other things, Sudek photo- confiscations, plundered factories photography prior to being drafted by František Jan Müller, included numerous photographs in the in particular of the Old Town Hall near Libeň Bridge, located in the graphed the abandoned barricades and stolen land […] and also an into the Austro-Hungarian army laudatory poems about Prague affected areas stretching from with its burnt-out neo-Gothic Maniny area of Prague-Holešovice. on the Smetana Embankment assessment of cultural losses.”33 in 1915,1 this interest deepened by the poets Jaroslav Hilbert, today’s Rašín Embankment all the wing. [Fig. 3 – 4, 49 – 77] This These items – bells, sculptures, [Fig. 14] and also the Church of Sts. The Books of Mourning as thus during his time in the army, when Josef Hora, Jaroslav Seifert, way to the southwestern borders group, too, includes works of a memorial plaques, or metal building Cyril and Methodius on Resslova envisioned were never published, he used a small 4.5 × 6 cm camera Vítězslav Nezval, and František of Vinohrady: Palacký Bridge with documentary nature (primarily material – had been collected here Street, site of the most dramatic but Poláček did put together a to engage in his first attempts Halas, reproductions of historical the damaged statues of Lumír images of the damaged buildings since 1942, dismantled from their moments associated with the assas- memorial anthology for the Union at photography.2 Of these early vedute showing Prague during and the Hymn and Přemysl and on the Old Town Square) as well original locations as part of the sination of Reichsprotektor Reinhard of Booksellers and Publishers on works, several landscapes and war and during peacetime, and Libuše by Josef Václav Myslbek, as images taken with a greater eye requisition of non-ferrous metals Heydrich in 1942.30 the fate of Czech book publishing 86. Josef Sudek, From the series photographs of military life have also a contemporary panoramic the damaged houses on nearby towards artistic quality. Particularly for war purposes. During the during the occupation in which he St. Vitus, 1924 – 1928 survived, for the most part in the image by Josef Sudek (1938), Palacký Square, the Church of interesting are Sudek’s series of war, boats would travel down the The 1946 Prague Calendar recorded Czech booksellers and form of later reproductions.3 But he most probably taken from the St. Wenceslas at Zderaz, house long-distance shots of the Old Vltava and Elbe to the metalworks publishers who had been killed or also took photographs of deformed tower of St. Vitus Cathedral.9 In no. 1969 on Resslova Street, the Town Hall and the Church of St. of northern Germany, where the Sudek’s 1945 photographs of imprisoned, as well as lost assests, trees or ruined churches and old January 1941, Sudek approached Faust Building on Vyšehradská Nicholas taken from the tower of metal would be melted down and war-damaged Prague were never wartime censorship, the control of buildings, and these pictures signal the Sfinx publishing house with Street, the former Jesuit College Týn Church, with the remnants of processed. Nevertheless, some exhibited on their own during the book market, the confiscation his interest in the beauty hidden the idea of publishing Prague on Charles Square, the National the neo-Gothic stone balustrade in of these art objects survived the his lifetime, and those that were and destruction of books, and behind the horrors of wartime Castle, a proposed book of 100 Theatre workshops at Větrov, the foreground. [Fig. 1, 62 – 63] war and were later returned to published tended to be of a more publishing activities during the war. ruins – an interest later reflected in photographs. While working on the Vinohrady synagogue, and Even more remarkable are their original locations. Sudek, documentary nature. The largest Although the anthology was appar- his images of the damage suffered the publication, Sudek was even the Gröbe Villa in the Havlíček the similarities between these however, was intrigued by their selection of these works appeared ently sent to the printers in 1947, by Prague during the Second granted access to parts of the Gardens. [Fig. 5 – 9] Unlike other photographs and Sudek’s more chaotic resting place at Maniny. in the 1946 Prague Calendar, pub- it was never published.34 Poláček World War. Sudek later said of his castle otherwise off-limits to the photographers, who documented famous photographic series His photographs show the statues lished by Václav Poláček’s Prague also stated that he was preparing early photographs: “By an irony of public, and also to the terraces of the immediate and horrifying created around the same time. in unusual, sometimes surreal, Publishers in 1945 with the subtitle a book titled Czechoslovakia’s fate, during my time in the army, the National Theatre, from where aftermath of this unexpected The Second World War repre- positions and combinations, and Prague’s Lost Cultural Heritage Artistic Losses 1939 –1945 , but the which wasn’t worth shit, I started he took several long-distance disaster,18 Sudek photographed sented a turning point in Sudek’s capture them within the context 1939 – 1945. [Fig. 88] authors who were supposed to to look out on the landscape out shots of Hradčany.10 Sudek’s orig- these places after the fires had work, in particular as regards his of the surrounding Prague sub- By the mid-1940s, Sudek’s work on it were busy with other 87. Josef Sudek, St. Wenceslas Church there on the Italian front. I saw inal plan was for the photographs been extinguished, the dead had focus on more intimate subjects. urbs, with the Pražačka school professional friendship with work in the immediate post- in Prague-Vršovice, [1933?] that beautiful landscape, which of to be completed by April 1941, been carried off, and the dust had During the war, Sudek created his campus or the Libeň gasometer Václav Poláček dated back nearly war period.35 In 1948, he finally course had been devastated by all but the book (105 photographs in settled. Most of his photographs first photographs of the garden in the distant background.26 20 years. In 1928, Sudek had succeeded in partially fulfilling the fighting, and I said to myself, total) was not published until the are of a documentary nature: they outside his studio on Újezd Street, [Fig. 32 – 39, 41 – 45] Another set begun working with the Družstevní these plans with the publication ‘Dammit, I would really love to autumn of 1945.11 [Fig. 84] Two are sober and objective records through which he recorded the of photographs by Josef Sudek Práce (Cooperative Work) publish- of the fifth volume of Lost Prague, photograph that. I think I could do years later, an English version with of the damaged buildings. Several changing view from the window. that tells of the destruction of ing house, which Václav Poláček whose final section was dedicated it.’ But I still didn’t know how.”4 113 photographs was published images of the National Theatre’s [Fig. 91] These artistic pho- Prague’s sculptures during the had co-founded in 1922 and for to monuments that had been As an invalid, Josef Sudek in London under the title Magic in workshops at Větrov nevertheless tographs increasingly strayed war – either for political reasons which Poláček spent the following damaged during the war.36 Art experienced the Second World Stone.12 Also during the war (May indicate that Sudek did not see from the realism of his commis- or because they were melted down 11 years working as its adminis- historian Zdeněk Wirth’s text was War not on the front, but within 1944), art historian Emanuel Poche these places just through the sioned work, of which there was for reuse – are his pictures of trator, secretary, and then director. accompanied by three of Sudek’s the “urban landscape” of Prague, asked Sudek for several photo- eyes of a documentarian: He was somewhat less during the war. empty pedestals, for instance at Sudek not only photographed documentary photographs. The which – unlike its residents sub- graphs for a book about Charles captivated by the tangle of twisted “[Sudek’s] art photography, which the monuments to Karolina Světlá books for Družstevní Práce; he project that came closest to fulfill- jected to the Nazi terror – mostly Bridge. He even sent Sudek his metal beams, which he shot against begins to noticeably depart from (Charles Square), Svatopluk Čech also recorded their production ing Poláček’s vision37 of publishing avoided damaging assaults until ideas of what to photograph and the light, thus offering us an alter- the realism, conventionality, and (Svatopluk Čech Park, Vinohrady), process. Especially famous are his an assessment of wartime losses the end of the war. And yet it was from where to take the pictures. native view of the terrible reality ordinary, normative beauty of his and František Palacký (Palacký photographs of industrial design was the 1946 Prague Calendar with the war that caused Prague’s Sudek did take some images of a bomb-damaged building – commissioned photographs of Square). [Fig. 40, 46] The missing products for the publisher’s subsid- photographs by Josef Sudek. 88. (a)1946 Prague Calendar, title historical monuments to be photo- for the book during the war, but a view that is also beautiful.19 This Prague and Prague Castle, is now sculptures then turn up in his iary, the modern home furnishings For many of Sudek’s works, it is page with photograph by Josef Sudek: graphed more intensively than ever many others date from the 1950s. approach was most common in defined by the dreaminess and photographs from the Maniny retailer Krásná Jizba (Beautiful difficult today to determine the mo- View of St. Nicolas Church from the before. “The war heightened the The entire set was published Sudek’s largest (nearly 150 photo- mystery of gardens, the excitement scrapyard, from where they were Room). The innovative, hard-work- tivation behind their creation – i.e., tower gallery at Týn Church – in the sense of historical consciousness, in 196113 as Charles Bridge in graphs), most comprehensive, and of windows, the bizarre and returned to their original locations ing, and capable yet conflict-prone whether they were commissioned rear, Prague Castle, 1945 and several architectural pho- Photographs.14 Other photographs also most artistically sophisticated picturesque qualities of still-lifes, after the war. Poláček left Družstevní Práce in works or whether they grew out of tographers contributed to the fresh from Sudek’s extensive archive group of images, taken at the and the distorted perspective of Prague was an important center 1934 and three years later became his photographic interest in a par- investigation of what had been appeared in various books on Emmaus Monastery (also called panoramic photographs. […] The of transportation and industry, the director of the bookshops ticular subject or motif and were fought for and preserved, and to Prague’s historical monuments “Na Slovanech”). definitive, conscious split between and so the Germans expected run by the publishing empire of only later used for “commercial” the search for cultural identity and published by Václav Poláček’s After its destruction, Emmaus his commissioned work and his it to be hit by air raids – which Jaroslav Stránský. In this position, purposes. In some instances, we roots that it prompted.”5 During Prague Publishers (Pražské Monastery became a symbol of the artistic creation comes during the city nevertheless managed he reorganized the former F. Topič may assume that the first photo- the war, various photographers nakladatelství Václava Poláčka) in damage suffered by Prague’s mon- the war. Non-commissioned art to avoid until late 1944. Praguers bookshop on Prague’s Národní graphs of a particular theme or took pictures of the historical parts the first half of the 1940s or shortly uments during the war, and later takes up more and more space did not see any need to prepare Třída (National Avenue) and, more subject matter38 were taken out of of Prague and published them after the war – Prague Gardens also a symbol of their renewal.20 until it is in first position.”23 In fact, for such an eventuality, and the importantly, turned the Topič pure interest and that these images in a wide range of periodicals. (1943), [Fig. 85] Prague Portals The bombs completely destroyed Sudek’s photographs of the Old German authorities neglected to Salon gallery and art outlet into caught the eye of potential clients, The German censors saw such (1944), Břevnov Monastery (1944), the north tower of the church Town Hall damaged by the fighting properly implement preventive a serious competitor of Krásná who then commissioned additional photography as an essentially and Prague Palaces (1946).15 building, the south tower suffered of the Prague Uprising contain measures. They did, however, Jizba in terms of the range and photographs. In other cases, English Translation 195 (Documentary Prague), […],” Paul Virilio, War and 74. Ehm, “Fotografie a její of Reality’: The Malá skála, Praha, 2006, Cinema. The Logistics of účel” (op. cit. 10), Photographic Cycles of Josef Sudek (1896 –1976) pp. 60 – 63. Perception, Verso, London, pp. 27 – 28. Vilém Reichmann and Jiří 57. One such photograph 1984, pp. 7–8. (transl. from 75. Jakl used this visually Sever,” in: Fijalkowski – featuring a retouched cloud French by Patrick Camiller). impressive photograph for Richardson – Walker, The Czech photographer Josef Sudek was born in Kolín and later settled in Prague. He apprenticed as a bookbinder. In 1915, he was called up for service in the of rising dust has been 65. Reproduced in, for example the cover of his book, see Surrealism and Austro-Hungarian army, during which time he lost his right arm during battle on the Italian front. After returning home from the war, he spent several years living preserved in the archive of Birgus – Mlčoch, Czech Tomáš Jakl, Barikády Photography (op. cit. 80), at Prague’s Invalidovna, a retirement home for invalids, where he retrained as a photographer. In the early 1920s, he studied photography at the State School of the newspapers Práce Photography of the 20th a bojiště Pražského pp. 127 – 145, cit. Graphic Art, which later allowed him to open his own photographic studio on Prague’s Újezd Street in 1928, which he used until his death. Even before studying (Work) and Národní politika Century (op. cit. 2), p. 133. povstání (The Barricades pp. 130 – 136. photography, Sudek had moved in amateur photography circles, and even though he was later completely devoted to his work as a professional photographer, he (National Politics), the 66. V. R. [Vladimír Remeš], and Battlefields of the 86. For example, the National never ceased taking pictures in his spare time “just for himself.” In his commercial work, he specialized in particular on reproducing works of art, on advertising Archive of the National “Padl v posledních Prague Uprising), Paseka, Archive of the Czech and product photography, and on photographing architecture, the urban landscape, and monuments. Of particular significance was his work for the Družstevní Museum, envelope 180 vteřinách války” (Killed in Praha – Litomyšl, 2014 (for Republic, Military History práce (Cooperative Work) publishing house, which helped him expand his personal and professional relationships with many different artists. In 1945, he worked for (Prague 1, The Old Town the Last Seconds of War), the discussion of the above Institute in Prague and Václav Poláček, Družstevní práce’s former director and by then an independent publisher, for whom he documented the destruction suffered by Prague during the Hall) but it captures the Československá fotografie composition see p. 144). Military History Archive in Second World War. The war changed Sudek and sparked his personal interest in more intimate and imaginative subjects, an interest that further intensified over the moment when the 24, 1973, no. 5, p. 195. I thank Adam Havlík for Prague (Central Military subsequent decades. By the end of his life, Josef Sudek was a world-famous photographer. He died in Prague in 1976 after holding several monographic exhibitions Neo-Gothic wing of the 67. Ibid. information on and Archives) contain marking his 80th birthday, at among other places the Museum of Decorative Arts in Prague (curated by Anna Fárová) and the Moravian Gallery in Brno (curated town hall was torn down 68. Jan Vašek, “Letecký teror consulting of this subject. thousands of photographs by Antonín Dufek). Sudek’s posthumous estate was catalogued by the art historian Anna Fárová, whose specialty was the history of photography and whose most when the uprising was nad Prahou” (Aerial Terror 76. National Archives of the concerning the theme important publication was the book Josef Sudek (Torst, Prague, 1995). over. above Prague), Pestrý Czech Republic, Fond “Prague 1945,” in contrast 58. Cf. Elizabeth Edwards, týden 20, 1945, no. 8 1330 – Květnové povstání with the thirty photographs “Photography and the (24. 2. 1945), p. 3. 1945 (May Uprising 1945), in the Museum of Performance of History,” 69. Josef Šusta, “Veliký Album no. 1, photograph Decorative Arts in Prague, Kronos, no. 27, Visual památník národní 08 – 1 – 028. Collection of Photography History – November 2001, minulosti”, Nedělní Lidové 77. Cf. the quote by Wolfgang and sixty in the Collection pp. 15 – 29. listy 22, vol. 166, 18. 7. Kemp above (op. cit. 27). of Photography in the 59. We can compare the 1943, p. 2 [Wirth clippings, 78. National Archives of the Moravian Gallery in Brno. photographs with footage Lidové listy, 1943], fond Czech Republic, Fond 87. For more about this theme included in Otakar Zdeněk Wirth, Department 1362 – Svaz českých applied largely to 19th Vávra’s Cesta k barikádám of Documentation, Institute fotografů (Union of Czech century photography, see from 1946 (op. cit. 56). of Art History of the Czech Photographers), unpro- Geoffrey Batchen, Obraz 60. The detailed description of Academy of Sciences, sign. cessed. a jeho diseminace, Sudek’s action appears in W-A-66/1/39. 79. Karel Teige, “Cesty (op. cit. 32). the recollection of Vladimír 70. Uhlíř, Bomby na Prahu československé fotografie” 88. See, e.g., Elizabeth Fuka, in: Jan Řezáč – Jan (op. cit. 50), p. 23. Maršál (Paths of Czech Edwards – Janice Hart, Mlčoch, eds., Růže pro worked for the Kuratorium Photography), in: Moderní eds., Photographs Objects Josefa Sudka (A Rose for mládeže (Board of Trustees fotografie Histories: on the Materiality Josef Sudek; exhibition cat- for the Education of Youth). v Československu / Das of Images, Routledge, alogue), Správa Pražského 71. Egen Wiškovský, Moderne Lichtbild in der London, 2004. hradu – “K psychologii fotogra- Tschechoslowakei 89. Birgus, Jindřich Marco. 122. Zdenko Feyfar, Josef Sudek Uměleckoprůmyslové fického účinu” (On (exhibition catalogue), Hořká léta. Evropa (during the revolution), 1945 museum v Praze, Praha, Psychology of Orbis, Praha, 1947 (cited (op. cit. 50), p. 6. 1996, pp. 191 – 195, Photographic Effect), from: Pospěch, Česká 90. For example the new prints cit. p. 193 (reproduced on Fotografie IV, 1948, no. 1, fotografie 1938 – 2000, from negatives by Eugen p. 196 of this catalogue). pp. 1 – 3 (cited from op. cit. 5, pp. 68 – 79, Wiškovský in the collection See also the essay by Amy Pospěch, Česká fotografie cit. p.76). of the Moravian Gallery in Hughes in this catalogue. 1938 – 2000, op. cit. 5, pp. 80. Ibid., p. 77. See also Brno. Sudek used large-format 64 – 68, cit. p. 65 and 66). Krysztof Fijalkowski – plates, almost exclusively 72. Teige, “Foto a umění” Michael Richardson – Ian of glass, measuring (op. cit. 5), p. 82. Walker, Surrealism and 13 × 18 cm but we do not 73. We may observe the Photography in know exactly what kind of different ways of writing Czechoslovakia. On the camera he had. Fuka says: photography history in the Needle of the Days, “His camera was too heavy Czech context by Ashgate, London, 2013, and clumsy for such comparing the approaches esp. pp. 34 – 65. a trade. With its glossy in the texts by Antonín 81. Teige, “Cesty českosloven- wooden tripod, it seemed Dufek in the art-historical ské fotografie” (op. cit. 79), to me as a rare, bizarre series Dějiny Českého p. 77. piece of furniture.” (Ibid.) výtvarného umění (History 82. See also the concepts of 61. The photographers must of Czech Visual Art; vol. “tragedy” and “apocalypse” have stood right beside IV – VI; Academia, Praha, in the context of war, each other as is apparent 1998, 2005, 2007) or the Vojtěch Lahoda, “Tragédie” from the comparison of photography history by (Tragedy), in: Rousová et photographs by Josef Birgus – Mlčoch, Czech al., Konec avantgardy? Voříšek in: Plavec, Praha Photography of the 20th (op. cit. 2), pp. 113 – 123. 1945 očima fotografa Century (op. cit. 2) with, for 83. See album of photographs (op. cit. 50), p. 106 and example, Daniela of the National Sudek’s photograph Mrázková – Vladimír Museum’s damages during S12536N, Photo Archive, Remeš, Cesty českosloven- the Prague Uprising, Institute of Art History of ské fotografie (Paths of Archive of the National the Czech Academy of Czech Photography), Mladá Museum; Jaroslav Švehla, Sciences. This event has fronta, Praha, 1989. Bomby kolem Pantheonu been identified in Examples of different uses (Bombs around Pantheon), collaboration with Adam of photography also include Nakladatelství Pragotisk, Havlík—for another the exhibition curated by Praha, 1946. photograph of the same Marie Klimešová, Hana 84. See Mariana event see http://www. Rousová and Zbyněk Kubištová’s essay in this sudekproject.cz/en/ Baladrán, Tenkrát v Evropě. catalogue. Both Kubištová old-town-square-13- Čeští umělci v totalitních and Vojtěch Lahoda may-1945 (accessed 13 režimech 1938 – 1953 (Back assume Sudek exceeded December 2017). then in Europe. Czech the escope of 62. Marie Pujmanová, “Zase na Artists in Totalitarian Poláček’s commission světle Božím” (Back in the Regimes 1938 – 1953; when he photographed the Light of Day), Kritický Gallery of West Bohemia, Emmaus monastery, the měsíčník VI, 1945, no. 1, Pilsen, 22 September windows of the Old Town pp. 39 – 40, cit. p. 39. 2017 – 21 January 2018), Hall and the action around 63. The amount of documents where photography was it, and the metals was certainly influenced by presented in the art section scrapyard at Maniny. the fact that the theme was as an independent artistic I agree with this theory particularly popular during statement but also as event though unfortunately, the communist era. a “mere” documentary line it is now impossible to 64. “War can never break free consisting of new prints of prove it. from the magical spectacle period photographs 85. For more about the series because its very purpose is introducing Czech see Ian Walker, to produce that spectacle emigrants. “‘Island -Beacons in the Sea English Translation 213 List of Illustrations Fig. 10 Fig. 20 Fig. 29 Fig. 39 Fig. 49 converted negative, 8 × 8 cm, Fig. 66 Josef Sudek, “Ball Games Hall at Prague Josef Sudek, “Church of Our Lady Josef Sudek, The cloister garden at Josef Sudek, “Dismantled stone Josef Sudek, View of the Old Town Institute of Art History of the Czech Josef Sudek, The Old Town Hall, Castle, burnt out from the fighting of at Emmaus, damaged in the air Emmaus Monastery, 1945, digitally sculpture of F. Palacký by S. Sucharda Square from Celetná Street after Academy of Sciences, Photo Archive, burnt out during the Prague 5 – 8 May 1945” (Calendar, Fig. 51), raid of 14 February 1945. Looking converted negative, 18 × 13 cm, at the Maniny metals scrapyard” the Prague Uprising – on the left, S12633NB. Repro © Vlado Bohdan, Uprising – view from the north, Fig. 1 1945, digitally converted negative, towards the chancel” (Calendar, Institute of Art History of the Czech (Calendar, Fig. 10), 1945, gelatin silver the House at the Stone Lamb, IAH. © Estate of Josef Sudek. 1945, digitally converted negative, Josef Sudek, View of St. Nicholas 18 × 13 cm, Institute of Art History of Fig. 30), 1945, gelatin silver print, Academy of Sciences, Photo Archive, print, 17.7 × 23.3 cm, Prague City 1945, digitally converted negative, 13 × 18 cm, Institute of Art History Church from the gallery of the north the Czech Academy of Sciences, Photo 23.4 × 17.5 cm, private collection in S12326N. Repro © Vlado Bohdan, Archives, Collection of Photographs, 18 × 13 cm, Institute of Art History Fig. 58 of the Czech Academy of Sciences, tower of Týn Church, 1945, digitally Archive, S12369N. Repro © Vlado Prague. © Estate of Josef Sudek. IAH. © Estate of Josef Sudek. II 528. © Estate of Josef Sudek. of the Czech Academy of Sciences, Josef Sudek, The burnt-out Old Photo Archive, S12532N. Repro converted negative, 18 × 13 cm, Bohdan, IAH. © Estate of Josef Sudek. Photo Archive, S12722N. Repro Town Hall with astronomical clock © Vlado Bohdan, IAH. © Estate of Institute of Art History of the Czech Fig. 21 Fig. 30 Fig. 40 © Vlado Bohdan, IAH. © Estate of surrounded by protective wall after Josef Sudek. Academy of Sciences, Photo Archive, Fig. 11 Josef Sudek, Monastery Church Josef Sudek, Courtyard in front of Josef Sudek, “The place where Josef Sudek. the Prague Uprising, 1945, digitally S12544N. Repro © Vlado Bohdan, Josef Sudek, “Protective walls of Our Lady at Emmaus – view Monastery Church of Our Lady Sucharda’s monument to F. Palacký converted negative, 13 × 18 cm, Fig. 67 IAH. © Estate of Josef Sudek. around tombs and the royal oratory from the northwest, 1945, digitally at Emmaus, 1945, gelatin silver stood” (Calendar, Fig. 2), 1945, gelatin Fig. 50 Institute of Art History of the Czech Josef Sudek, View through the at St. Vitus Cathedral” (Calendar, converted negative, 13 × 18 cm, print, 16,7 × 12,2 cm, Museum of silver print, 17.6 × 23.5 cm, Prague City Josef Sudek, The Old Town Square Academy of Sciences, Photo Archive, portico of the Old Town Hall Fig. 2 Fig. 15), [1945], gelatin silver print, Institute of Art History of the Czech Decorative Arts in Prague, Collection Archives, Collection of Photographs, II and the Old Town Hall after the S12763N. Repro © Vlado Bohdan, towards the damaged oriel Josef Sudek, “Water reservoir by the 17.6 × 23.4 cm, Prague City Archives, Academy of Sciences, Photo Archive, of Photographs, GF 54091. © Estate 1686. © Estate of Josef Sudek. Prague Uprising; view from Celetná IAH. © Estate of Josef Sudek. window, 1945, gelatin silver Jan Hus monument on the Old Town Collection of Photographs, II 1695. S12574N. Repro © Vlado Bohdan, of Josef Sudek. Street, 1945, digitally converted print, 17.2 × 12.5 cm, Museum Square” (Calendar, Fig. 14), 1945, © Estate of Josef Sudek. IAH. © Estate of Josef Sudek. Fig. 41 negative, 13 × 18 cm, Institute of Art Fig. 59 of Decorative Arts in Prague, gelatin silver print, 17.7 × 23.3 cm, Fig. 31 Josef Sudek, The Maniny metals History of the Czech Academy of Josef Sudek, “The Old Town Square Collection of Photographs, Prague City Archives, Collection of Fig. 12 Fig. 22 Josef Sudek, Northwest corner of scrapyard, 1945, gelatin silver print, Sciences, Photo Archive, S12669N. damaged during the fighting of GF 54012. © Estate of Josef Sudek. Photographs, II 1694. © Estate of Josef Sudek, “Sculptures and carvings Josef Sudek, Monastery Church Monastery Church of Our Lady at 18 × 23.9 cm, Institute of Art History Repro © Vlado Bohdan, IAH. 5 – 8 May 1945. View from Little Josef Sudek. at St. Vitus Cathedral placed in of Our Lady at Emmaus – view Emmaus, 1945, digitally converted of the Czech Academy of Sciences, © Estate of Josef Sudek. Square towards the Old Town Hall Fig. 68 storage in case of air raid” (Calendar, from the southwest, 1945, digitally negative, 18 × 13 cm, Institute of Art Photo Archive, S12488. Repro © Vlado and the Church of Our Lady before Josef Sudek, Cross made of charred Fig. 3 Fig. 4), [1945], gelatin silver print, converted negative, 18 × 13 cm, History of the Czech Academy of Bohdan, IAH. © Estate of Josef Sudek. Fig. 51 Týn” (Calendar, Fig. 31), 1945, beams (provisional monument to Josef Sudek, “Houses on the Old 23.5 × 17.6 cm, Prague City Archives, Institute of Art History of the Czech Sciences, Photo Archive, S12649N. Josef Sudek, View of the House at gelatin silver print, 17.7 × 23.5 cm, the fallen), seen from the neo- Town Square belonging to S. Hainz Collection of Photographs, II 1688. Academy of Sciences, Photo Archive, Repro © Vlado Bohdan, IAH. Fig. 42 the Stone Lamb (left) and the Old Prague City Archives, Collection of Gothic wing of the Old Town and F. Kynzl damaged during the © Estate of Josef Sudek. S12553N. Repro © Vlado Bohdan, © Estate of Josef Sudek. Josef Sudek, “Sculpture of light- Town Hall (in rear) damaged during Photographs, II 1702a. © Estate of Hall, 1945, gelatin silver print, fighting of 5 – 8 May 1945” (Calendar, IAH. © Estate of Josef Sudek. bearer from column on S. Čech the Prague Uprising, 1945, digitally Josef Sudek. 59 × 43 cm, Museum of Decorative Fig. 39), 1945, gelatin silver print, Fig. 13 Fig. 32 Bridge at the Maniny metals converted negative, 13 × 18 cm, Arts in Prague, Collection of 17.5 × 23.2 cm, Prague City Archives, Josef Sudek, “Water reservoir on Fig. 23 Josef Sudek, View of the Maniny scrapyard”, (Calendar, Fig. 52), 1945, Institute of Art History of the Fig. 60 Photographs, GF 36657. © Estate of Collection of Photographs, II 1706. Hradčany Square” (Calendar, Josef Sudek, “Church of Our Lady at metals scrapyard from the north – gelatin silver print, 23.4 × 17.4 cm, Czech Academy of Sciences, Photo Josef Sudek, The Schier House on Josef Sudek. © Estate of Josef Sudek. Fig. 11), 1945, gelatin silver print, Emmaus. Nave vaulting destroyed in the background, Pražačka school Prague City Archives, Collection of Archive, S12531N. Repro © Vlado the Old Town Square, damaged 17.5 × 23.9 cm, Prague City Archives, in the air raid of 14 February 1945. campus and the Libeň gasometer, Photographs, II 1711. © Estate of Bohdan, IAH. © Estate of Josef during the Prague Uprising – in Fig. 69 Fig. 4 Collection of Photographs, II 1692a. Looking towards the chancel” 1945, digitally converted negative, Josef Sudek. Sudek. the foreground right, the corner of Josef Sudek, Damaged Gothic oriel Josef Sudek, “House on the Old © Estate of Josef Sudek. (Calendar, Fig. 7), 1945, gelatin silver 13 × 18 cm, Institute of Art History of the Old Town Hall, 1945, digitally window of the Old Town Hall and Town Square belonging to S. Hainz print, 22.8 × 17.6 cm, private collection the Czech Academy of Sciences, Photo Fig. 43 Fig. 52 converted negative, 18 × 13 cm, honor guard by cross for the fallen damaged during the fighting of Fig. 14 in Prague. © Estate of Josef Sudek. Archive, S12507N. Repro © Vlado Josef Sudek, “Graveyard of bells and Josef Sudek, “Detail of facade of the Institute of Art History of the after the Prague Uprising, 1945, 5 – 8 May 1945. View of arcades” Josef Sudek, Remains of barricade in Bohdan, IAH. © Estate of Josef Sudek. Jan Štursa’s sculpture of S. Čech at the House at the Stone Lamb on the Old Czech Academy of Sciences, Photo gelatin silver print, 16.8 × 12 cm, (Calendar, Fig. 36), 1945, gelatin front of Café Slavia on the Smetana Fig. 24 Maniny metals scrapyard” (Calendar, Town Square, burnt out during the Archive, S12548N. Repro © Vlado Museum of Decorative Arts in silver print, 17.6 × 23.3 cm, Prague Embankment, 1945, digitally Josef Sudek, “Staircase in the south Fig. 33 Fig. 29), 1945, gelatin silver print, fighting of 5 – 8 May 1945” (Calendar, Bohdan, IAH. © Estate of Josef Prague, Collection of Photographs, City Archives, Collection of converted negative, 8 × 8 cm, tower of the Church of Our Lady at Josef Sudek, The Maniny metals 23.4 × 17.3 cm, Prague City Archives, Fig. 27), 1945, gelatin silver print, Sudek. GF 54009. © Estate of Josef Sudek. Photographs, II 1704. © Estate of Institute of Art History of the Czech Emmaus, destroyed in the air raid scrapyard, 1945, digitally converted Collection of Photographs, II 1701. 23.5 × 17.6 cm, Prague City Archives, Josef Sudek. Academy of Sciences, Photo Archive, of 14 February 1945” (Calendar, negative, 13 × 18 cm, Institute of Art © Estate of Josef Sudek. Collection of Photographs, II 1700a. Fig. 61 Fig. 70 S12633NC. Repro © Vlado Bohdan, Fig. 33), 1945, gelatin silver print, History of the Czech Academy of © Estate of Josef Sudek. Josef Sudek, “Antonín Balvín’s House Josef Sudek, Main staircase of the Fig. 5 IAH. © Estate of Josef Sudek. 23.5 × 17.6 cm, private collection in Sciences, Photo Archive, S12479N. Fig. 44 at the White Peacock on Celetná historic building of the Old Town Josef Sudek, “J. V. Myslbek’s Prague. © Estate of Josef Sudek. Repro © Vlado Bohdan, IAH. Josef Sudek, Sculptures at the Maniny Fig. 53 Street, burnt out during the fighting Hall damaged during the Prague sculptures of Lumír and Přemysl Fig. 15 © Estate of Josef Sudek. metals scrapyard; in the middle, T. Josef Sudek, The Old Town Square of 5 – 8 May 1945” (Calendar, Uprising, 1945, digitally converted with Libuše at the east end of Palacký Josef Sudek, “Ducháčková’s sculpture Fig. 25 G. Masaryk by Otakar Španiel, 1945, and the town hall after the Prague Fig. 34), 1945, gelatin silver print, negative, 18 × 13 cm, Institute of Art Bridge, destroyed in the air raid of Jan Hus from the Agricultural Josef Sudek, Cloister at Emmaus Fig. 34 gelatin silver print, 23.4 × 17.6 cm, Uprising, 1945, digitally converted 23.4 × 17.5 cm, Prague City Archives, History of the Czech Academy of of 14 February 1945” (Calendar, Museum in Prague, stored at the Monastery, 1945, digitally converted Josef Sudek, The Maniny metals Prague City Archives, Collection of negative, 13 × 18 cm, Institute of Art Collection of Photographs, II 1703a. Sciences, Photo Archive, S12606N. Fig. 16), 1945, gelatin silver print, Maniny metals scrapyard” (Calendar, negative, 18 × 13 cm, Institute of Art scrapyard, 1945, digitally converted Photographs, II 917a. © Estate of History of the Czech Academy of © Estate of Josef Sudek. Repro © Vlado Bohdan, IAH. 17.6 × 23.3 cm, Prague City Archives, Fig. 17), 1945, gelatin silver print, History of the Czech Academy of negative, 13 × 18 cm, Institute of Art Josef Sudek. Sciences, Photo Archive, S12673N. © Estate of Josef Sudek. Collection of Photographs, II 1696a. 23.4 × 17.6 cm, Prague City Archives, Sciences, Photo Archive, S12517N. History of the Czech Academy of Repro © Vlado Bohdan, IAH. Fig. 62 © Estate of Josef Sudek. Collection of Photographs, II 1697a. Repro © Vlado Bohdan, IAH. Sciences, Photo Archive, S12525N. Fig. 45 © Estate of Josef Sudek. Josef Sudek, “The Old Town Hall Fig. 71 © Estate of Josef Sudek. © Estate of Josef Sudek. Repro © Vlado Bohdan, IAH. Josef Sudek, “J. V. Myslbek’s bronze damaged during the fighting on Josef Sudek, Large window of the Fig. 6 © Estate of Josef Sudek. sculpture of F. L. Riegr from Riegr Fig. 54 5 May 1945; view from the tower historical building of the Old Town Josef Sudek, “J. V. Myslbek’s sculpture Fig. 16 Fig. 26 (a, b) Park, stored at the Maniny metals Josef Sudek, People sitting on the gallery at Týn Church” (Calendar, Hall, 1945, digitally converted of Přemysl and Libuše making her Josef Sudek, “Western facade of the Josef Sudek, Chapter hall at Emmaus Fig. 35 scrapyard” (Calendar, Fig. 25), 1945, railings of the water reservoir on the Fig. 20), 1945, digitally converted negative, 18 × 13 cm, Institute of Art prophesy at the east end of Palacký church and monastery at Emmaus Monastery, 1945 (text on the rear: Josef Sudek, The Maniny metals gelatin silver print, 23.4 × 17.5 cm, Old Town Square after the Prague negative, 18 × 13 cm, Institute of Art History of the Czech Academy of Bridge, destroyed in the air raid destroyed in the air raid of 14 “Thank you from my heart for scrapyard, 1945, gelatin silver print, Prague City Archives, Collection Uprising, 1945, digitally converted History of the Czech Academy of Sciences, Photo Archive, S12686N. of 14 February 1945” (Calendar, February 1945” (Calendar, alternation your birthday wishes | Sudek | 30/ 23.8 × 17.8 cm, Prague City Archives, of Photographs, II 527. © Estate of negative, 8 × 8 cm, Institute of Art Sciences, Photo Archive, S12576N. Repro © Vlado Bohdan, IAH. Fig. 37), 1945, gelatin silver print, to Fig. 12), 1945, gelatin silver VIII 72 | Prague” in Josef Sudek’s Collection of Photographs, II 526a. Josef Sudek. History of the Czech Academy of Repro © Vlado Bohdan, IAH. © Estate of Josef Sudek. 23.4 × 17.5 cm, private collection in print, 12.2 × 16.5 cm, Museum of handwriting), gelatin silver print, © Estate of Josef Sudek. Sciences, Photo Archive, S12633NA. © Estate of Josef Sudek. Prague. © Estate of Josef Sudek. Decorative Arts in Prague, Collection 17.5 × 12.3 cm, Los Angeles County Fig. 46 Repro © Vlado Bohdan, IAH. Fig. 72 of Photographs, GF 59157. © Estate of Museum of Art, The Marjorie and Fig. 36 Josef Sudek, “Pedestal of Zoula’s © Estate of Josef Sudek. Fig. 63 Josef Sudek, View of inner courtyard Fig. 7 Josef Sudek. Leonard Vernon Collection, gift Josef Sudek, Allegory of Oppression monument to Karolína Světlá on Josef Sudek, View towards Petřín through the large window of the Josef Sudek, “Central part of of The Annenberg Foundation, from Sucharda’s monument to Charles Square designed by Josef Fig. 55 Hill from the gallery of the north historical building of the Old Town former Jesuit College of St. Ignatius Fig. 17 acquired from Carol Vernon and František Palacký at the Maniny Fanta” (Calendar, Fig. 3), 1945, Josef Sudek, The Old Town Square tower of Týn Church, 1945, digitally Hall, 1945, digitally converted damaged in the air raid of 14 Josef Sudek, “Church of Our Lady and Robert Turbin, M.2008.40.2129. metals scrapyard, 1945, digitally gelatin silver print, 24.1 × 18 cm, with water reservoir after the Prague converted negative, 13 × 18 cm, negative, 18 × 13 cm, Institute of Art February 1945 and already partially Church of Sts. Cosmas and Damian at Photo © Museum Associates / converted negative, 13 × 18 cm, Institute of Art History of the Czech Uprising – in the rear, the Old Institute of Art History of the Czech History of the Czech Academy of rebuilt” (Calendar, Fig. 22), 1945, Emmaus, damaged in the air raid of 14 LACMA. © Estate of Josef Sudek. Institute of Art History of the Czech Academy of Sciences, Photo Archive, Town Hall and St. Nicholas Church, Academy of Sciences, Photo Archive, Sciences, Photo Archive, S12600N. gelatin silver print, 17.6 × 23.5 cm, February 1945. View from the north” Academy of Sciences, Photo Archive, S12791. Repro © Vlado Bohdan, 1945, digitally converted negative, S12741N. Repro © Vlado Bohdan, Repro © Vlado Bohdan, IAH. Prague City Archives, Collection of (Calendar, Fig. 18), 1945, gelatin silver Fig. 27 S12469N. Repro © Vlado Bohdan, IAH. © Estate of Josef Sudek. 13 × 18 cm, Institute of Art History IAH. © Estate of Josef Sudek. © Estate of Josef Sudek. Photographs, II 1698. © Estate of print, 17.4 × 23.1 cm, private collection Josef Sudek, Broken Madonna IAH. © Estate of Josef Sudek. of the Czech Academy of Sciences, Josef Sudek. in Prague. © Estate of Josef Sudek. (known also as Plaster Fig. 47 Photo Archive, S12543N. Repro Fig. 64 Fig. 73 Head; sculpture of shepherd Fig. 37 Josef Sudek, Wenceslas Square and © Vlado Bohdan, IAH. © Estate of Josef Sudek, The Old Town Hall, Josef Sudek, View of inner courtyard Fig. 8 Fig. 18 from the “Beuron Nativity Scene” Josef Sudek, “Bronze sculptures building no. 812/II destroyed during Josef Sudek. burnt out during the Prague through the large window of the Josef Sudek, “The Vinohrady Josef Sudek, Monastery Church of damaged in the air raid at Emmaus from the F. Palacký monument by the Prague Uprising; view from Uprising, 1945, gelatin silver print, historical building of the Old Town Synagogue, damaged in the air raid Our Lady at Emmaus – view from the Monastery), 1945, gelatin silver S. Sucharda at the Maniny metals the stairs of the National Museum, Fig. 56 18.1 × 23.9 cm, National Gallery Hall, 1945, digitally converted of 14 February 1945” (Calendar, presbytery, 1945, digitally converted print, 23.5 × 17.6 cm, National scrapyard” (Calendar, Fig. 48), 1945, 1945, digitally converted negative, Josef Sudek, The Old Town Square of Canada, Ottawa, Gift of an negative, 18 × 13 cm, Institute of Art Fig. 38), 1945, gelatin silver print, negative, 18 × 13 cm, Institute of Art Gallery of Canada, Ottawa, Gift of gelatin silver print, 17.8 × 23.2 cm, 13 × 18 cm, Institute of Art History during a memorial for the fallen on anonymous donor, 2010, acc. no. History of the Czech Academy of 22 × 17.4 cm, Prague City Archives, History of the Czech Academy of an anonymous donor, 2010, acc. no. Prague City Archives, Collection of of the Czech Academy of Sciences, 13 May 1945 – in the rear, the Old 43619. Photo © National Gallery of Sciences, Photo Archive, S12688N. Collection of Photographs, II 1705. Sciences, Photo Archive, S12654N. 43729. Photo © National Gallery of Photographs, II 1568. © Estate of Photo Archive, S12546N. Repro Town Hall, 1945, digitally converted Canada. © Estate of Josef Sudek. Repro © Vlado Bohdan, IAH. © Estate of Josef Sudek. Repro © Vlado Bohdan, IAH. © Estate Canada. © Estate of Josef Sudek. Josef Sudek. © Vlado Bohdan, IAH. © Estate of negative, 13 × 18 cm, Institute of Art © Estate of Josef Sudek. of Josef Sudek. Josef Sudek. History of the Czech Academy of Fig. 65 Fig. 9 Fig. 28 Fig. 38 Sciences, Photo Archive, S12670N. Josef Sudek, The Old Town Hall, Fig. 74 Josef Sudek, “Moritz Gröbe’s villa Fig. 19 Josef Sudek, Sculpture of shepherd from Josef Sudek, “Bronze sculptures Fig. 48 Repro © Vlado Bohdan, IAH. burnt out during the Prague Josef Sudek, Detail of large window in the Havlíček Gardens, burnt out Josef Sudek, Interior of Monastery the “Beuron Nativity Scene” damaged from the F. Palacký monument by Josef Sudek, Wenceslas Square © Estate of Josef Sudek. Uprising – view from the northeast, of the historical building of the Old after the air raid of 14 February Church of Our Lady at Emmaus – in the air raid at Emmaus Monastery, S. Sucharda at the Maniny metals after the Prague Uprising – in the 1945, digitally converted negative, Town Hall, 1945, digitally converted 1945” (Calendar, Fig. 32), 1945, view from the presbytery, 1945, 1945, digitally converted negative, scrapyard” (Calendar, Fig. 46), 1945, rear, the National Museum, 1945, Fig. 57 13 × 18 cm, Institute of Art History negative, 18 × 13 cm, Institute of Art gelatin silver print, 17.8 × 23.4 cm, gelatin silver print, 17.1 × 11.2 cm, 18 × 13 cm, Institute of Art History of gelatin silver print, 23.6 × 17.5 cm, gelatin silver print, 11.9 × 17.9 cm, Josef Sudek, People walking along of the Czech Academy of Sciences, History of the Czech Academy of Prague City Archives, Collection of Museum of Decorative Arts in Prague, the Czech Academy of Sciences, Photo Prague City Archives, Collection of Museum of Decorative Arts in today’s Paris Street after the Prague Photo Archive, S12533N. Repro Sciences, Photo Archive, S12684N. Photographs, II 919. © Estate of Josef Collections of Photographs, GF 59205. Archive, S12666N. Repro © Vlado Photographs, II 1569. © Estate of Prague, Collection of Photographs, Uprising – in the rear, the remains © Vlado Bohdan, IAH. © Estate of Repro © Vlado Bohdan, IAH. Sudek. © Estate of Josef Sudek. Bohdan, IAH. © Estate of Josef Sudek. Josef Sudek. GF 59250. © Estate of Josef Sudek. of the Old Town Hall, 1945, digitally Josef Sudek. © Estate of Josef Sudek. English Translation 215 Fig. 75 fighter in a helmet,” 1945, gelatin Fig. 92 Fig. 103 the Centropress agency. Library Fig. 122 Authors 2018), Libor Fára (2006), and Vincenc Josef Sudek, Remains of northern silver print pasted on cardboard, Stanislav Maršál, Interior of the Antonín Alexander, “Bldg. of the Museum of Decorative Arts Zdenko Feyfar, Josef Sudek (during Kramář. From the Old Masters neo-Gothic wing of the Old Town 12.6 × 17.9 cm, Military Central Monastery Church of Our Lady at no. 1 – I, The Old Town Hall, oriel in Prague, sign. 54 A 1304. Repro the revolution), 1945, gelatin silver to Picasso (2000). He is the head Hall after partial demolition Archives – Military History Emmaus following the air raid of window of the chapel destroyed by © Digital Library of the Moravian print, 38.8 × 29.2 cm, Moravian researcher on the NAKI project about following damage during the Prague Archives Prague, Photo Archive, box 14 February 1945 – rescue work, the Germans’ rampage during the Library. Gallery in Brno, MG 11378. Mgr. Adam Havlík Josef Sudek (www.sudekproject.cz) Uprising, 1945, digitally converted no. 224, no. 42823. 1945, gelatin silver print, 20 × 22 cm, liberation of Prague 5 – 9 May 1945, © Zdenko Feyfar. studied history at Charles and is co-editor of Instant Presence. negative, 18 × 13 cm, Institute of Art Military History Institute Prague, phot. 17 May 1945,” gelatin silver Fig. 113 University’s Faculty of Arts in Representing Art in Photography History of the Czech Academy of Fig. 84 inv. no. XIX – 28204. © Military print, 17.2 × 12.3 cm, Prague City Stanislav Maršál, Smoking ruins of Fig. 123 (a, b) Prague, where he is currently a Ph.D. (2017). Sciences, Photo Archive, S12620N. Josef Sudek, “Hradčany and the History Institute Prague. Archives, Collection of Photographs, the interior of the National Theatre Invitation to celebration of Josef Candidate in Modern Economics Repro © Vlado Bohdan, IAH. Lesser Town as seen from Petřín sign. A 16944. workshops at Větrov following the Sudek’s 50th birthday with a drawing and Social History. He has worked Katarína Mašterová, Ph.D. © Estate of Josef Sudek. Hill,” double-page spread from Fig. 93 air raid on 14 February 1945, 1945, by Alena Ladová on the front, 1946, as a researcher at the Institute for the is a researcher at the Institute of Rudolf Rouček’s Pražský hrad, Vilém Reichmann, Arabesque (from Fig. 104 gelatin silver print, 17 × 12 cm, printed as postcard, 15 × 10.5 cm, Study of Totalitarian Regimes in the Art History of the Czech Academy Fig. 76 výtvarné dílo staletí (Prague Castle, the series Wounded City), 1945, Double-page spread from František Military History Institute Prague, inv. Memorial of National Literature, Research Department 1945 – 1989 of Sciences, where she works at the Josef Sudek, The Old Town Square An Art Work of the Centuries), gelatin silver print, 37 × 29.6 cm, Hrubín, ed., Památník Pražského no. XIX – 28205. © Military History Fond of Josef Träger, inv. no. 1243. II since 2016. His interest is in the Photography Research Center. She and historical part of town hall under Sfinx – Bohumil Janda, Praha, Moravian Gallery in Brno, MG 3680. povstání (Monument to the Prague Institute Prague. © Heirs of Alena Ladová. social and cultural history of postwar studied art history and archeology at scaffolding – in the rear, Týn Church, 1945, Fig. 59, 27.5 × 20.3 cm © Vilém Reichmann. Uprising), Václav Šesták, Praha, Czechoslovakia. He has published Charles University’s Faculty of Arts in [1948], digitally converted negative, (cover), Institute of Art History of 1946, pp. 50 – 51, with photographs Fig. 114 on various subjects, including the Prague. In 2012, she defended her art 18 × 13 cm, Institute of Art History the Czech Academy of Sciences, Fig. 94 by Stanislav Hulík and Helena Unknown author, “Barricade on history of popular culture in the history M.A. thesis on the relationship of the Czech Academy of Sciences, Library, sign. C 758. Repro Josef Sudek, From the series Vanished Pištěková, 29.5 × 21.3 cm (cover), Avenue of the Defenders of Peace” Abbreviations Czech lands and the history of the of Jan Svoboda’s (1934 – 1990) Photo Archive, S12612N. Repro © Vlado Bohdan, IAH. © Estate of Statues, 1953 – 1970, gelatin silver print, Institute of Art History of the Czech [today Milada Horáková Street]”, repressive apparatus prior to 1989. As photographs to sculpture. She also © Vlado Bohdan, IAH. © Estate of Josef Sudek. 16 × 11 cm, Moravian Gallery in Brno, Academy of Sciences, Library, sign. 1945, gelatin silver print pasted acc. no. accession number part of his dissertation project, he is contributed to the monograph Jan Josef Sudek. MG 8464. © Estate of Josef Sudek. C12355/2. Repro © Vlado Bohdan, into album, 13.6 × 8.7 cm, National acq. no. acquisition number studying the phenomenon of black- Svoboda: I Am Not a Photographer Fig. 85 IAH. Archives, fond 1330 – May Calendar shortened title for Josef market money-changing in socialist (2015). Her dissertation, which she Fig. 77 Josef Sudek, The Villa Portheimka Fig. 95 Uprising 1945, Album no. 2, inv. Sudek – Zdeněk Wirth, Czechoslovakia. wrote while she was employed at Josef Sudek, The Old Town Square garden and the garden at Klamovka, Karel Ludwig, The Old Town Hall is Fig. 105 no. 08/2/130. Pražský kalendář 1946. the Institute of Archeology of the and remains of the town hall double-page spread from Zdeněk Burning, Prague, 8 May 1945, 1945, Unknown author, “Burning of Kulturní ztráty Prahy Amy Hughes, M.A. Czech Academy of Sciences, Prague, under scaffolding, [1948], digitally Wirth’s Pražské zahrady (Prague gelatin silver print, 22 × 15.5 cm, German books in front of the Fig. 115 1939–1945 (Prague is a Ph.D. Candidate in the focused on early medieval sacral converted negative, 13 × 18 cm, Gardens), Pražské nakladatelství Archive B&M Chochola. © Archive Deutsche Arbeitsfront Building at František Illek and Alexandr Paul, Calendar 1946. Prague’s Art History at the University of architecture. She is a researcher on Institute of Art History of the Czech V. Poláčka, Praha, 1943, Fig. 40 – 41, B&M Chochola. Wenceslas Square no. 25,” 1945, “Interior of the Ball Game Court after Lost Cultural Heritage Wisconsin-Madison, currently based the NAKI project about Josef Sudek Academy of Sciences, Photo Archive, 21.2 × 15.1 cm (cover), Institute of gelatin silver print pasted into album, the roof truss caught fire on 9 May 1939–1945), Pražské in Prague as a Dedalus Foundation (www.sudekproject.cz) and co-editor S12612N. Repro © Vlado Bohdan, Art History of the Czech Academy Fig. 96 12.9 × 18 cm, National Archives, 1945,” 1945, gelatin silver print, nakladatelství V. Poláčka, Dissertation Fellow (2017–2018). She of Instant Presence. Representing Art IAH. © Estate of Josef Sudek. of Sciences, Library, sign. C 1623b. Josef Sudek, Series of photographs of fond 1330 – May Uprising 1945, 17.5 × 13 cm, The Archives of Prague Praha, 1945 was a Fulbright Fellow at the Institute in Photography (2017). Repro © Vlado Bohdan, IAH. Heads published in Blok, Magazine for Album no. 4, inv. no. 08/3/108. Castle, Collection of Photography, IAH Institute of Art History of Art History of the Czech Academy Fig. 78 © Estate of Josef Sudek. Art II, 1947, no. 6 (On Photography), inv. no. F 5422. © Alexandr Paul. of the Czech Academy of Sciences in 2015–2016. She earned Translated by Stephan von Pohl. Tibor Honty, Sculpture of the Clash p. 196, 27.6 × 20.5 cm, private Fig. 106 © František Illek. of Sciences her master’s degree in Design History of the Titans at the entrance gate Fig. 86 collection. Repro © Vlado Bohdan, Unknown author, “Prague I – The inv. no. inventory number from the Bard Graduate Center in to Prague Castle with a swastika Josef Sudek, From the series St. Vitus, IAH. © Estate of Josef Sudek. Old Town Square / May Revolution – Fig. 116 NPÚ National Heritage New York, and worked as a research in the background, 1940s, gelatin 1924 –1928, gelatin silver print as settling accounts with the occupiers František Illek and Alexandr Paul, Institute assistant for the Metropolitan silver print, 28 × 21 cm, Museum of postcard, 14 × 9 cm, Museum of Fig. 97 or collaborators (?)”, 1945, gelatin “Interior of the Ball Game Court after Museum of Art in New York. She Decorative Arts in Prague, Collection Decorative Arts in Prague, Collection Unknown author, “Weeping Prague silver print pasted on cardboard the roof truss caught fire on 9 May studies Central European art, design, of Photographs, GF 2652. © Heirs of of Photographs, GF 34906. © Estate residents watching the Old Town (identified as a film still from The 1945,” 1945, gelatin silver print, and visual culture, with a special Tibor Honty. of Josef Sudek. Hall burn,” 1945, gelatin silver print Path to the Barricades, dir. Otakar 17.5 × 13 cm, The Archives of Prague Editor’s note focus on Czech postwar glass art, pasted into album, 12.9 × 18 cm, Vávra, 1946, stored at National Film Castle, Collection of Photography, photography, and performance- Fig. 79 Fig. 87 National Archives, fond 1330 – May Archive), 10.7 × 15.3 cm, Military inv. no. F 5421. © Alexandr Paul. The titles of photographs in -based installations. Her dissertation Jan Erban, “The The Old Josef Sudek, St. Wenceslas Church in Uprising 1945, Album no. 4, Central Archives – Military History © František Illek. quotations marks are taken from examines the affective politics of Town’s astronomical clock on the Prague-Vršovice, [1933?], digitally inv. no. 08/3/34. Archives Prague, Photo Archive, box other sources – either from the dissent in postwar monumental glass morning of 5 May 1945, before its converted negative, 18 × 13 cm, no. 219. Fig. 117 1946 Prague Calendar (see list of sculptures created in communist destruction by the occupiers,” 1945, Institute of Art History of the Czech Fig. 98 Karel Hájek, “Basement of the radio abbreviations), from the archival Czechoslovakia. gelatin silver print pasted on cardboard, Academy of Sciences, Photo Archive, Josef Hanka, “Captured German Fig. 107 building where a bomb exploded,” cards onto which the photographs 17.6 × 12.9 cm, Central Military S7490N. Repro © Vlado Bohdan, women removing the barricades Unknown author, Emmaus burning, 1945, gelatin silver print pasted on have been pasted, or from inventory Mariana Kubištová, Ph.D. Archives – Military History Archives IAH. © Estate of Josef Sudek. (one is wearing a swastika cut out view from the north, 1945, digitally cardboard, 13 × 18 cm, Military lists. Titles in italics are titles given studied art history at Charles Prague, Photo Archive, box no. 219. of flags on her back),” 1945, gelatin converted negative, 5.9 × 5.9 cm, Central Archives – Military History by the photographs’ original authors. University’s Faculty of Arts in Fig. 88 (a, b) silver print pasted on cardboard, Czech Press Agency, Photobank, Archives Prague, Photo Archive, box Titles without quotations marks and Prague. She has been studying Fig. 80 1946 Prague Calendar (Pražské 8.3 × 11.4 cm, Military Central F201002030119001. © ČTK. no. 225, no. 11780. © Heirs of Karel in regular (non-italic) print are titles architectural photography since 2005, Unknown author, “The Dvořák nakladatelství V. Poláčka, Praha, Archives – Military History Archives Hájek. given by this book’s editor. and wrote both her master’s thesis Embankment as seen from Letná 1945), with photographs by Josef Prague, Photo Archive, box no. 226, Fig. 108 and dissertation on the subject. Park,” 1945, gelatin silver print pasted Sudek (a: View of St. Nicolas no. 12269. Stanislav Maršál, Demolishing the Fig. 118 Reproductions of photographs by In 2011 – 2012, she was the head on cardboard, 13.4 × 11 cm, Military Church from the tower gallery at central section of the former Jesuit Karel Hájek, “Destroyed marble Josef Sudek with the description researcher for the project “Josef Central Archives – Military History Týn Church – in the rear, Prague Fig. 99 College on Charles Square, 1945, stairwell leading from the ground “digitally converted negative” were Sudek as Photographer of Interwar Archives Prague, Photo Archive, box Castle; b: double-page spread no. 45; Miroslav Hák, Wenceslas Square, gelatin silver print, 20 × 22 cm, floor to the first floor of the radio created by digitally re-photographing Architecture,” and in 2016 she put no. 219, no. 9932. “Portal of the Richter Foundation 1945, gelatin silver print included in Military History Institute Prague, building,” 1945, gelatin silver print the negative and converting it into a together an exhibition on the subject building on Little Square, damaged the portfolio Jiří Taufer – Jiří Prošek, inv. no. XIX – 282046. © Military pasted on cardboard, 13.1 × 18 cm, positive, which photographer Vlado at the Museum of Decorative Arts Fig. 81 during the fighting of 5–8 May Květen 1945 (May 1945), SNKLHU, History Institute Prague. Military Central Archives – Military Bohdan subsequently reworked in Prague, where she has worked as Unknown author, “The bombing of 1945”), 1945, 20.7 × 14.7 cm Praha, 1960, Institute of Art History History Archives Prague, Photo using image editing software. This a curator in the field of design since Prague – the air raid on Vysočany,” (cover), Library of the Museum of of the Czech Academy of Sciences, Fig. 109 Archive, box no. 225, no. 11833. approach was only used if we could 2010. She is one of the co-researchers 1945, gelatin silver print pasted on Decorative Arts in Prague, sign. Library, sign. C 2921, 29.7 × 24.9 cm, Tibor Honty, Prague residents with © Heirs of Karel Hájek. not find an original positive by Josef on the NAKI project about Josef cardboard, 12.6 × 17.5 cm, National D 3728. Repro © Adéla Kremplová, Repro © Vlado Bohdan, IAH. Red Army soldiers (right-hand Sudek. Sudek (www.sudekproject.cz). Archives, fond 1347 – Photo IAH. © Estate of Josef Sudek. © Miroslav Hák, OOA-S 2018. image: the photographer’s wife Irena Fig. 119 Archive of the Institute of Marxism- in the middle), 1945, silver gelatin Karel Hájek, “After the air raid in We have indicated the copyright for Prof. PhDr. Vojtěch Lahoda, CSc. Leninism, unprocessed. Fig. 89 Fig. 100 contact print, 5.6 × 12.5 cm, private February 1945,” 1945, gelatin silver those works whose copyright holders is a researcher at the Institute of Josef Sudek’s bills of sale 1944 – 1945, Jan Tuháček – Bohumil Končinský, collection of Ivan Hoffmann. © Heirs print, 22.9 × 30.2 cm, National we were able to find. For some works Art History of the Czech Academy Fig. 82 “4/VIII” [1945], 11.2 × 16.2 cm “Prague 2, Emmaus, nave of the of Tibor Honty. Archives, fond 1362 – Union of (photographs by Antonín Alexander, of Sciences (of which he was director Karel Hájek, “A fierce firefight (closed), Museum of Decorative Arts church,” 1945, digitally converted Czech Photographers, unprocessed. Bohumil Končinský, Jan Erban, in 1993 – 2001 and 2012 – 2017) erupted on Balbín Street between in Prague, Collection of Photography, negative, 24 × 18 cm, National Fig. 110 © Heirs of Karel Hájek. Josef Hanka, Stanislav Hulík, Helena and a professor of art history at Czechoslovak fighters and Germans Documents from the Estate of Josef Heritage Institute, Department Unknown author, Taking pictures Pištěková, and Jan Tuháček) we were Charles University’s Faculty of Arts defending the radio station / May Sudek, Donated by Božena Sudková, of Photographic Documentation, with Red Army soldiers, 1945, gelatin Fig. 120 unable to identify the copyright in Prague. He is a leading specialist revolution 1945 / In the foreground, Box no. 4. inv. no. 33099. Repro © Ladislav silver print, 17 × 16.7 cm, Military Unknown author, “Destroyed shop holders; should they come across in the history and theory of Czech pp. 2–3 a group of fighters with Bezděk, NPÚ. History Institute Prague, inv. no. windows on Wenceslas Square this note, we ask them to contact modernism and the avant-garde weapons – on the right, the front Fig. 90 (a, b) XIX – 28203. after the revolution – several Artefactum ([email protected]). within the European context. He of a truck,” 1945, gelatin silver print Václav Poláček, text “Torso – torsa, Fig. 101 firefighters with hoses in front of The same applies for any cases when has curated and co-curated dozens pasted on cardboard, 13 × 18 cm, nikoliv naděje čili Pražský kalendář Jan Tuháček, “Prague 1, The Old Fig. 111 a damaged shop,” 1945, gelatin the author of a photograph by an of exhibitions, including Zdeněk Central Military Archives – Military 1946” (A Fragment – Fragments, Town Hall, demolished interiors,” Unknown author, “Wenceslas silver print pasted on cardboard, “unknown author” is identified. Rykr a továrna na čokoládu (Zdeněk History Archives Prague, Photo not Hope; or: The 1946 Prague 1945, digitally converted negative, Square,” 1945, gelatin silver print 17.2 × 21.4 cm, Military Central Rykr and the Chocolate Factory, Archive, box no. 225, no. 11794. Calendar), Zprávy Oficiny Babensis 24 × 18 cm, National Heritage pasted into album, 18.2 × 12.9 cm, Archives – Military History 2016), Brutalismus Emila Filly (The © Heirs of Karel Hájek. II, 1945 – 1946, no. 1 (20. 11. 1945), Institute, Department of Photographic National Archives, fond 1330 – Archives Prague, Photo Archive, Brutalism of Emil Filla, 2014), pp. 2 – 3, 29.6 × 20.9 cm (each), Documentation, inv. no. 33687. Repro Prague Uprising 1945, Album no. 4, box no. 220, no. 12297. Černá slunce (Black Sun, 2011), Fig. 83 private collection. © Ladislav Bezděk, NPÚ. inv. no. 08/3/155. Konec avantgardy? (The End of the Unknown author, “Prague Fig. 121 Avant-Garde, 2011), and Josef Sudek: Uprising 1945. The last barricade Fig. 91 Fig. 102 Fig. 112 Unknown author, Display cases The Commercial Photography for on Černokostelecká Street by the Josef Sudek, View from the Window Antonín Alexander, “Emmaus, bldg. Page with article by Jan Vašek, inside the National Museum Družstevní práce (2003). He has also turnaround for the no. 16 tram of My Studio, 1940 – 1954, gelatin no. 320, Prague 2,” 1945, gelatin silver “Letecký teror nad Prahou” (Aerial damaged during the Prague Uprising, authored numerous publications, / Massive barricade of paving silver print, 40 × 28.7 cm, Regional print, 17.2 × 12.2 cm, Prague City Terror over Prague), Pestrý týden 1945, gelatin silver print, 18 × 13 cm, including Josef Sudek. The Advertising stones and metal sticks and pipes; Museum in Kolín, acq. no. 115/87. Archives, Collection of Photographs, 20, 1945, no. 8 (24. 2. 1945), p. 3, Archives of the National Museum, Photographs (2008), Emil Filla (2007, standing in front of it is an armed © Estate of Josef Sudek. sign. A 17399. 30.7 × 23 cm, with photographs from unprocessed. updated second edition forthcoming English Translation 217 Katalog byl vydán při příležitosti výstavy This catalogue was published on the occasion Josef Sudek: Topografie sutin of the exhbition Dům fotografie Galerie hlavního města Prahy Josef Sudek: The Topography of Ruins Revoluční 5, Praha 1 House of Photography, Prague City Gallery 22. 5. – 19. 8. 2018 Revoluční 5, Prague 1 22 May – 19 August 2018 Kurátoři výstavy: Mariana Kubištová, Vojtěch Lahoda, Katarína Mašterová Curators: Mariana Kubištová, Vojtěch Lahoda, Katarína Mašterová Editorka katalogu: Katarína Mašterová Editor of the Catalogue: Katarína Mašterová Autoři textů: Adam Havlík, Amy Hughes, Vojtěch Lahoda, Mariana Kubištová, Katarína Mašterová Essays by: Adam Havlík, Amy Hughes, Vojtěch Lahoda, Mariana Kubištová, Katarína Mašterová Redakce a jazyková korektura: Kristýna Bartoš, Jana Jebavá (studio Datle) Proofreading and Language Editing: Kristýna Bartoš, Jana Jebavá (studio Datle) Překlady do angličtiny: Hana Logan, Keith Jones, Stephan von Pohl, Barbora Štefanová Translations to English: Hana Logan, Keith Jones, Stephan von Pohl, Barbora Štefanová Korektura angličtiny: Jana Hlávková English Language Editing: Jana Hlávková Překlady do češtiny: Martin Micka Translations to Czech: Martin Micka Grafická úprava: Martin Groch & Tim+Tim Graphic Design: Martin Groch & Tim+Tim Předtisková úprava fotografií: Radek Typovský (Marvil) Lithography: Radek Typovský (Marvil) Vydalo nakladatelství: Artefactum – Ústav dějin umění AV ČR, v. v. i. Publisher: Artefactum – Institute of Art History of the Czech Academy Spolupráce: Galerie hlavního města Prahy of Sciences

Tisk: Helbich, a.s. Cooperation: Prague City Gallery

Náklad: 500 ks Printing: Helbich, a.s. Papíry: Artic Silk, Munken Lynx Rough Písma: Minion, Helvetica Print Run: 500 Papers: Artic Silk, Munken Lynx Rough Vydání první. Praha 2018. Typefaces: Minion, Helvetica

Recenzoval: PhDr. Milan Pech, Ph.D. First Edition. Prague 2018.

Vydáno nakladatelstvím Artefactum Ústavu dějin Reviewed by: PhDr. Milan Pech, Ph.D. umění AV ČR, v. v. i. v rámci projektu „Josef Sudek a fotografická dokumentace uměleckých Published by the Artefactum publishing house of the děl: od soukromého archivu umění k reprezentaci Institute of Art History of the Czech Academy of Sciences kulturního dědictví“ (zkráceně Sudek Project), as part of the project “Josef Sudek and Photographic podpořeného Ministerstvem kultury České republiky Documentation of Works of Art: From a Private Art v rámci Programu na podporu aplikovaného Archive to Representing a Cultural Heritage” (shortly výzkumu a vývoje národní a kulturní identity NAKI II Sudek Project) supported in 2016–2020 by the Ministry (id. č. DG16P02M002) v letech 2016–2020. of Culture of the Czech Republic as part of the Program of Applied Research and Development of National and Fotografie © Josef Sudek, Antonín Alexander, Cultural Identity (NAKI II), ID number DG16P02M002. Centropress, Jan Erban, Zdenko Feyfar, Karel Hájek, Miroslav Hák, Tibor Honty, Stanislav Hulík, František Photographs © Josef Sudek, Antonín Alexander, Illek, Bohumil Končinský, Karel Ludwig, Stanislav Maršál, Centropress, Jan Erban, Zdenko Feyfar, Karel Hájek, Alexandr Paul, Helena Pištěková, Vilém Reichmann, Miroslav Hák, Tibor Honty, Stanislav Hulík, František Jan Tuháček, neznámí autoři. Illek, Bohumil Končinský, Karel Ludwig, Stanislav Maršál, Texty © Adam Havlík, Amy Hughes, Vojtěch Lahoda, Alexandr Paul, Helena Pištěková, Vilém Reichmann, Mariana Kubištová, Katarína Mašterová Jan Tuháček, unknown authors. © Artefactum, Ústav dějin umění AV ČR, v. v. i. Texts © Adam Havlík, Amy Hughes, Vojtěch Lahoda, Mariana Kubištová, Katarína Mašterová Vytištěno v České republice. © Artefactum, Institute of Art History of the Czech Academy of Sciences ISBN: 978-80-88283-10-2 Printed in the Czech Republic.

ISBN: 978-80-88283-10-2

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