The First Republic Art Exhibition Diary

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Josef Čapek, The Sailor

A long-term temporary exhibition, the First Republic art exhibition in Prague’s Trade Fair Palace showcases mostly Czechoslovak paintings and sculpture from 1918 to 1938, when Czechoslovakia was a democratic state under the guidance of President Tomáš Garrigue Masaryk. Czechoslovakia was founded in 1918, and Masaryk, who had been living in exile, was welcomed back into the Czech lands with much celebration and fanfare. The Munich Agreement, signed in September of 1938, proved a dark and dismal event in Czechoslovakia’s history, as the country ceded its German-minority Sudetenland to Hitler’s Third Reich. On March 15, 1939, the Nazis would march into Prague, and Hitler would set up the Protectorate of Bohemia and Moravia, starting a horrific chapter in Czech and Central European history.

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Josef Čapek

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The exhibition examines the flourishing of art in the various cultural centers of Czechoslovakia, first and foremost in Prague but also in Brno, the capital of Moravia. In Slovakia the cultural hubs were located in Bratislava and eastern Košice. Zarkarpattia was a section of Czechoslovakia from 1920 to 1938, and its city of Užhorod was the setting of some intriguing exhibitions. The exhibition not only features Czech art but also Czech-German production and Slovak artistic endeavors.

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Antonín Slavíček, House in Kameničky, 1904

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Adolf Hoffmeister, Bridge, 1922

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Bohumil Kubišta, Quarry in Braník, 1910-11

Some of the Czech and Slovak artists whose works shine in the exhibition are Antonin Slavíček, Max Švabinský, Josef Čapek, Václav Špála, Jan Zrzavý, Jan Preisler, Ľudovít Fulla, Martin Benka, Bohumil Kubišta and Josef Šíma as well as Toyen and Jindřich Štyrský. The German and Austrian artists represented include August Bromse, Max Pechstein and Oskar Kokoschka, a favorite of mine.

Sculpture by Auguste Rodin, Paul Cezanne, House in Aix, 1885-87

French art from the 19th and 20th century is also on display as the Mánes Association in Prague held an important exhibition of French art at the Municipal House during 1923. The dynamic renditions of Monet, Matisse, Renoir, Van Gogh, Seurat, Gauguin, Rodin, Rousseau and others are in the limelight, too. The paintings of Georges Braque and Pablo Picasso explore Cubist tendencies.

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Vincent Van Gogh, Green Wheat Field, 1889

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Henri Rousseau, Self-Portrait – Me. Portrait – Landscape, 1890

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Paul Cezanne

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Georges Seurat, Harbor in Honfleur, 1886

I was particularly impressed by the works of a Czech artistic group called the Obstinates, established at the Municipal House. It included artists who spent World War I in Prague. I liked to eat chicken with potatoes at the Art Nouveau Municipal House, and I sometimes would imagine what it had been like for those artists to discuss their ideas and theories of art there. Three of my favorite Czech painters belonged to this group of avant-garde art that had traits of Cubism and Expressionism: Josef Čapek, Špála and Zrzavý. The Municipal House at that time was one of the most prominent exhibition spaces. It still houses art exhibitions and nowadays also includes a concert hall.

On right: Jan Zrzavý, Lady in the Loge, 1918

I also tried to imagine the avant-garde Devětsil group having its first exhibition during 1922 at the Union of Fine Arts in the Rudolfinum, now the main concert house for the Czech Philharmonic. I have attended many concerts there, even seeing my favorite violinist Joshua Bell on its stage twice. I wondered what it had been like to see the works of Karel Teige, Adolf Hoffmeister and Štyrský in that majestic building during 1922 and 1923.

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Jindřich Štyrský, The Puppeteer, 1921

My favorite painting in the exhibition was called “Woman with a Cat” by František Zdeněk Eberl. I am a cat fanatic, and the woman in the painting is holding her cat on her shoulder so lovingly. You can sense that the cat is an important part of her family just as my Šarlota Garrigue Masaryková Burnsová is for me. (My cat is named after President Masaryk’s wife, the First Republic’s First Lady of Czechoslovakia.)

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František Zdeněk Eberl, Woman with a Cat, around 1929

The exhibition also highlighted the importance of the Mánes Association of Fine Artists, which had been established by Prague students in 1887. It had many functions, organizing exhibitions and lectures as well as editing magazines, for instance.

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Karl Schmidt-Rottluff, Village Square, 1920

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Václav Špála

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Vincenc Beneš, Behind the Mill in Písek, 1928

There were African art relics in the exhibition as well. I thought of Josef Čapek, who had been greatly influenced by African art. The exhibition informed museumgoers that Emil Filla’s paintings had been on display with African art at the Mánes in 1935. Filla had a strong interest in non-European art and was an avid supporter of the surrealist trends in Czechoslovakia.

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Another significant exhibition space during that era was the Dr. Feigl Gallery. Hugo Feigl made quite a name for himself as a private gallery owner. The exhibitions he put together did not only display Czech art but also highlighted Czech-German, Jewish and artists from around the world. He did not only organize exhibitions at his own gallery. One art show that interested me was Feigl’s exhibition of German and Austrian artists who had come to Prague as refugees, fleeing Hitler as the dictator amassed more and more power. Oskar Kokoschka, one of my favorite painters, was a refugee who had made his home in Prague. I loved his view of the Charles Bridge and his view of Prague on display. They captured the magical spell of Prague using avant-garde techniques.

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Oskar Kokoschka, Prague – View from Kramář’s Villa, 1934-35

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Oskar Kokoschka, Prague – Charles Bridge, 1934

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August Bromse, Descent from the Cross, before 1922

In 1937, Feigl even organized a daring exhibition of German Expressionist works from a German collection of which the Nazis were by no means fans. This exhibition encouraged people to protest against an exhibition in Munich, one that glorified the Nazi regime with its display of Nazi-approved art.

Václav Špála, By the River – Vltava near Červená, 1927, sculpture by Otto Gutfreund

I was also enthralled by the exhibitions that had taken place in Brno, Zlín and Bratislava. I had poignant memories of all three places. I had helped out at the first international theatre festival organized by the Theatre on a String in Brno many years ago. People in Brno had been so friendly, and my Czech really improved thanks to my time spent there. I had also visited some villas in Brno and knew the city’s sights well.

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Max Švabinský, In the Land of Peace, 1922

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Otto Gutfreund, Business, 1923

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I had spent several days of one vacation in Zlín, where I had toured the fascinating Báťa shoe museum, which probably featured every kind of shoe imaginable. More than a decade ago, I had visited Bratislava once a month to help take care of my favorite Slovak writer’s grave. I had also visited the Slovak National Theatre, learning Slovak in part thanks to its performances. I loved the Slovak language and felt at peace hearing people around me speak it. I also felt this way when I heard Czech. I especially liked the works of Slovak painter Ľudovít Fulla. His use of bright colors, in his work “Balloons” for example, gave his paintings a dynamism and vitality that was unforgettable.

On right: Ľudovít Fulla, Balloons, 1930

Košice and Užhorod were featured as artistic centers, too. I had spent a lot of time in Košice during my travels to Slovakia as some of my ancestors had been from that region, and I had also used Košice as a starting point to visit other places in east Slovakia, such as Humenné and the Vihorlat. I had never been to Užhorod, which Czechoslovakia had begun to modernize during the early days of the country’s existence. I was surprised that architect Josef Gočár had designed some functionalist buildings there. I often walked by some of Gočár’s architectural achievements in the Baba quarter of functionalist individual family homes.

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Anton Jaszusch, Landscape, 1920-24

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Pablo Picasso, Still Life with a Goblet, 1922

The exhibition also informed me that between 1933 and 1938, about 10,000 refugees from Germany and Austria had officially made their way to Czechoslovakia while the number of unofficial refugees was about the same. Many significant artists came to Czechoslovakia to flee Hitler’s hold on Germany and Austria.

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Caricature of Hitler, John Heartfield, Adolf the Superman: Swallows Gold and Spouts Junk, 1932

I was surprised to discover that as early as 1934 an exhibition of caricatures and humor protested Hitler’s ascent to power. It took place at the Mánes Association of Fine Artists. The caricatures were not limited to Hitler and even included some of the “good guys.” For instance, artists also poked fun at Masaryk. I was very moved by Josef Čapek’s versions of the painting “Fire,” showing a person unable to escape the dancing flames, artworks providing a stark warning about the danger of Hitler’s ideology and reign. The caricature of Hitler was chilling. Hitler’s head was perched atop a chest x-ray. His spine was made up of coins. His heart was shaped like a swastika.

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A sculpture commenting on the Munich Agreement of 1938

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Josef Čapek, Fire, 1938

The exhibition ended with those works commenting Hitler’s control of the region, specifically on the Munich Agreement of 1938. While those paintings and the sculpture profoundly affected me, I preferred to concentrate on the avant-garde creations that had been featured in an artistically flourishing democratic Czechoslovakia, when artists boldly experimented with their artistic visions, during an era that I had always wanted to visit if I could go back in time. I would have loved to experience the atmosphere of the country when democracy was fresh, the state new and full of promise. Little did anyone know at its inception that the First Republic would not last long and that such a chilling chapter would follow.

Tracy A. Burns is a writer, proofreader and editor in Prague.

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Furniture set from First Republic, Jan Vaněk

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East Side Gallery Photo Diary

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I first visited this permanent exhibition of politically motivated murals on the longest stretch of the Berlin Wall, reaching 1.3 kilometers or just under a mile, back in 1991, when there were six more murals. The East Side Gallery was created in 1990, shortly after the fall of the Berlin Wall on November 9, 1989. Artists from more than 20 countries took part.

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I was fascinated by the bold, brightly colored visual statements displayed in the open-air gallery back then, although I had not truly understood them before my second visit in 2019. Having lived in the Czech Republic and Czechoslovakia for more than 20 years, I have heard from friends what it was like to live under a totalitarian regime. I have friends who greatly suffered under the Communist regime. The messages of newly found freedom and the zest with which the fall of the Berlin Wall was depicted in those more than 100 murals took on another dimension for me in 2019. I could better appreciate the sheer euphoria and utter joy triggered by that historic event in 1989.

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When the wall was renovated in 2009, six artists refused to recreate their work, so I was able to see more in 1991. Also, the East Side Gallery had been longer back then. In 2006 45 meters of the wall was destroyed for commercial purposes. Then, in 2013, six more meters were taken down.

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Many of the murals made a great impression on me. Of course, the mural of Soviet and GDR leaders Leonid Brezhnev and Erich Honecker kissing was poignantly repulsive. For me, it certainly epitomized the political climate under Communism.

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The Trabant (a GDR-made car that came to symbolize the Communist country) almost leaping through the wall had an amazing three-dimensional quality. The mural challenged me to appreciate better the euphoria of the East Germans as the Wall came down and their thirst for freedom. I noticed that the license plate of the car was the date that the Berlin Wall fell – November 9, 1989.

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I also enjoyed studying the faces in the crowd trying to scramble through the hole in the Wall on November 9, 1989. Not all expressions emitted joy. In those faces I read apprehension and fear as well. A new world had suddenly opened up, and there would be challenges to form a stable democracy, to make the country blossom economically and culturally. The transformation would not happen overnight. There would be trials and tribulations before the change was complete.

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One mural that stood out for me was dominated by the word Berlin in white letters on black. In the left-hand corner were some tall buildings with the words New York. Balloons hovered above the name of the German city. For me this painting celebrated Berlin’s identity. It showed pride in the city of Berlin and the sense of hope that immersed the city after the unification. As one city, without the East and West divisions, Berlin would flourish, it seemed to say. (I am sorry I do not have a picture of this mural.)

Another that caught my attention read Curriculum Vitae at the top and listed many years from 1961 to 1989. Below the numbers I saw the words, “Gratitude to the killed and surviving refugees.”  It made me think of the people that had escaped to West Berlin and then had helped others escape, risking their lives so that others could enjoy the freedom they had found.

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Other murals included joyful people dismantling a wall. White doves fluttered on a blue background in one visual statement celebrating peace. Another mural showed a hand making the peace sign through bars and chained to a white dove, the sun behind the bird that symbolized peace. Some consisted of grotesque or cartoon-like figures. Cartoonish gas masks, all connected to each other, dominated one picture. A few of the paintings seemed set in a sci-fi world. In one mural an American flag and red star appear in the foreground while the Brandenburg Gate is pictured in the background.

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I felt exposed at the gallery because I sensed that I was in the middle of nowhere, though I was near a train and subway station as well as a modern arena, a hotel and high-rise housing. I felt as though I was in the East Berlin I had visited in 1990 – a desolate, dreary place as opposed to what had been the lively western part. After seeing the murals, I fled back to Charlottenburg, a quarter in which I felt very comfortable because it was inhabited mostly by locals, there was an absence of tourist shops, and the streets were tranquil. At the East Side Gallery, I did not feel comfortable. Frazzled, I was even relieved when I had finished touring the sight.

Tracy A. Burns is a writer, proofreader and editor in Prague.

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On the other side of the Wall, there was some interesting graffiti and more murals.

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The other side of the Wall with the graffiti

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Prague’s Baba Colony Diary

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View from Baba with St. Vitus’ Cathedral in the background

I like to take walks through the functionalist Baba colony in Prague’s sixth district, an area made up of 33 individual family homes constructed during the early 1930s in what was then the democratic First Republic. Pavel Janák, who worked for many years as the main architect of Prague Castle, was in charge of creating the housing development, and he had help from several other notable personalities in his field. The houses, whose designs were influenced by the Bauhaus style, were built for historians, writers, translators, publishers, sociologists, university professors, doctors and public officials who worked in ministries, to name a few.

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Many of the homes have been built into steep, sloping terrain on what was once farmland. It never ceases to fascinate me how the functionalist designs can complement the natural setting, using the location as a lively architectural element. The architects worked with the natural elements rather than against them. I also noted that there was a clear division between house and garden. In fact, in many cases, the gardens are not directly accessible from the buildings. I would have loved to have stood on some of those terraces and balconies; I am sure they offer stunning views, but I could only see the houses from street level.

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Typical for functionalism, the exteriors boasted no frills, and no experimental materials were used. Most houses were constructed of concrete and/or iron, for instance. The flooring often consisted of xylolite or linoleum. Many of the houses had central heating. While I could not go inside as they are all privately owned, I read that the interior walls in many of these abodes were white. Still, many of the interiors boasted unique features.

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Sputnik playground equipment, once in Stromovka Park

The Home of the Palička family is notable for the placement of its terrace on the ground floor instead of on the roof. In the garden of this house, there is a unique piece of equipment from a playground, a colorfully dotted, plastic contraption called Sputnik. It used to be in Stromovka Park during the 1960s. When the equipment was deemed unsafe for children, it was removed from the park. Now it serves as a relic of times past, displayed prominently in the tranquil garden.

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Cyril Bouda from Artmuseum.cz

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Illustration by Cyril Bouda for a children’s book

Installed in the House of Cyril Bouda, a prominent illustrator, painter and professor, was a studio with unique features. The living room was connected with the studio by a sliding wall. From the two-floor studio, there was an exterior staircase leading to the garden. Janák designed the House of Karel Dovolil, which features a steel staircase connecting the garden to the terrace. Janák’s creation for Václav Linda and Pavla Lindová featured a stepped terrace above the garage. The House of Jan Bělehrádek and Marie Bělehrádková boasts four sections on four levels. The entrance is underground, on the second level. Looking at the façade, it is evident that the architect used the terrain as a contrasting element. The walls of the house are smooth, in stark contrast to the rather rough, sloping ground.

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Josef Gočár from Brněnský architektonický manuál

Josef Gočár, who was responsible for four houses, designed the House of Julius Glucklich, which boasted an intriguing interior that looked like one continuous space. The hall and dining room were only separated by a sliding wall, a characteristic I also mentioned in another example. The House of Marie Mojžíšová and Stanislav Mojžíš, designed by Gočár, featured a Raumplan design, a design created by famous Czech-Austrian architect Adolf Loos. The Raumplan structure meant that each room was on a different level. The House of Václav Maule and Jarmila Mauleová, another masterfully built edifice by Gočár, features bedrooms situated on a raised ground floor while the living room is located on a higher level, perched on corbels. I would love to see the splendid views from that living room!

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Pavel Janák from Brněnský architektonický manuál

What to me is even more interesting than the architecture of the homes are the stories of the lives of their occupants. Admittedly, I am not the biggest fan of functionalist architecture, but I would have loved to have been a fly on the wall in some of these houses.

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The Munch couple had a house with both an exterior and interior staircase. Náďa Munková had served as personal secretary to Alice Masaryková, a daughter of the first Czechoslovak president, Tomáš Garrigue Masaryk. I wonder what it was like to work with Alice and how often she saw or spoke with Alice’s father, one of the heroes of the Czech nation. I often wonder what it would be like to live during Czechoslovakia’s First Republic, which was short-lived, only lasting from 1918 to 1938. I would have loved to have met both Alice Masaryková and President Masaryk. Náďa and her husband František emigrated to the USA in 1939, the year the Nazis took over Bohemia and Moravia. František studied and worked at Harvard and Columbia for a time.

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Václav Řezáč

Vaclav Řezáč, whose house was built by František Kerhart during 1932 and 1933, made a name for himself as a writer who became successful in the 1930s by penning books for children. His best work, The Almanach of the Czech Book, was published during World War II, when the Nazis had control. He also began writing psychological novels during that era and received many accolades. His novel Black Light also became a film in which legendary Czech actor Josef Abrham played the lead role. I most admired Abrham for his role as the pickpocket pretending to work as a waiter in Run Waiter, Run!, the first screenplay that Zdeněk Svěrák wrote. Řezáč worked as an editor for the daily Lidové noviny from 1940 to 1945 and then took up screenwriting. A lot of his screenplays were made into films, some even under the Nazi Protectorate. For many years, he was the director of the state publishing house, Československý spisovatel.

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After the Communists took control in 1948, Řezáč took a strong social realist stance in his writings, promoting totalitarian ideology. I wondered if he had believed in Communism or had been pressured into becoming a mouthpiece for the regime. Maybe both? Every day I was grateful that I had not had to endure living under Communism. I had heard enough stories from my friends who grew up during totality. Hearing those tales, I felt as if Communism was something that was almost tangible, while growing up during the Cold War in the USA I had considered it to be something gray and murky, something that existed far away, in a place I would never go.

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Cyril Bouda, who had lived in the area, was such a significant artist in the Czech lands during the First Republic that he nabbed many awards. From 1946 to 1972, he was a professor at Charles University. One of his students was Jaroslav Weigel, who I have seen act many times on the stage of the Žižkov Jára Cimrman Theatre, one of  my favorite places in the world. Weigel also worked as a painter, graphic artist and screenwriter. I had always thought of him as an actor before reading about his life. I hadn’t realized he was a man of so many talents.

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Miloň Čepelka as Mrs. Žilová and Jaroslav Weigel as Mr. Žila in the Jára Cimrman Theatre’s first play, Akt

Bouda was known mostly for his graphic art and illustrations in books. He often illustrated fairy tales and legends as well as humorous and historical books. Bouda also designed some Czechoslovak stamps and a stained glass window in Saint Vitus’ Cathedral. He created a tapestry of the capital city for the Hotel Intercontinental in 1958. He was dubbed a National Artist in 1976, when the rigid normalization era of Communism was in full play. A year later, he signed the anti-Charter that opposed Charter 77, a document calling for human rights. I wondered if he had been pressured to sign the anti-Charter or if he really was against Charter 77, which was created by dissidents, including Václav Havel. I know many artists signed the anti-Charter under pressure from the regime. They must feel very guilty now for having signed it back then. I imagine it is a part of their past of which they are ashamed. But, during Communist times, things were not always black-and-white. Then again, life is full of grey areas, no matter what era you live in.

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Antonie Suková and Václav Suk had a house in Baba, too, designed by Hana Kučerová – Záveská, whose architectural signature appears on two homes. It stood out as the largest house in the area, and the design had been in part influenced by Corbusier. Suk was arrested by the Communists at the end of the 1950s, an especially dark decade for Czechoslovakia. He passed away while behind bars. Unfortunately, his story is not unique.

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The amazing athlete Jan Zadák had a house with folding wooden blinds, which were characteristic for functionalist creations in the early-to-mid 1930s. He competed in nine sports, but for fun played another 21 as well. I would love to have his stamina and to have been that fit. As a child, I had played baseball with boys and ice hockey with boys and girls. Some of my favorite afternoons involved taking part in a hockey practice followed by a baseball practice, being able to participate in two sports during one day. Zadák was especially known as a soccer goalie who became a referee when he retired. He played for Kolín and then for Sparta Praha, a famous team in the Czech lands. Even though he was so fit, he died at the early age of 66 in 1954.

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The occupants of the house with the stepped terrace garden, Václav Linda and Pavla Lindová, did not have easy lives, even though their home was architecturally impressive. Still, luck had been on their side in the end. Pavla was Jewish but was not ushered away to a concentration camp because her husband was not Jewish. The couple’s son, however, had to toil in a work camp during the Second World War. In 1968, during a more liberal time of Communism, the family emigrated to the United States.

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Stanislav Mojžíš served as director of the National Theatre when his house was built by Gočár during 1935 and 1936. The living room was very lavish with its fireplace and three big windows. He worked as director from 1932 to 1939, the year the Nazis marched into Prague. He also penned poems, historical plays, feuilletons and essays. He often used the name Stanislav Lom instead of his birth surname.

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Jan Bělehrádek’s work centered on medicine and biology. While living in Prague, he taught at Charles University. During the 1930s, as a resident of Baba, he aided anti-Fascist endeavors and even chaired the underground Czech organization, We Remain Loyal. I wondered if he had been paranoid every day that the Nazis would come to his door and take him away forever. When it seemed that the Nazis would harm his family, he scarpered off to a sanatorium on the pretense of having tuberculosis, though his illness was purely fabricated. His ruse was not successful in the end, though. In 1945, the Nazis deported him to the Czech work camp Terezín. He was lucky. He came back alive. During the Second democratic Republic of Czechoslovakia, he served as rector of Charles University. Bělehradek fled to Paris after the Communists took control in the late forties. However, his family was not able to escape with him. Finally, in 1951, he was reunited with his family abroad. He wound up working for UNESCO and settling in London.

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Karel Kytlica, the occupant of a house accented by terraces and a garden with a pergola, was a hero to many during World War II. Employed by the Ministry of Education and fluent in German, Karel was able to keep many of his employees safe and out of work camps. Karel was no fan of Communism, either. He refused to join the Party in 1948. He wound up training dogs after retiring as an invalid.

Václav Maule played significant roles as a translator, writer and publisher during the First Republic. He was incarcerated in Terezín but escaped at the end of the war. His freedom was short-lived, however. Three weeks later, he died of typhus.

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Janák had built a house for himself in Baba, too. I sometimes visited Janák’s grave in the cemetery of the Church of St. Matthew in Hanspaulka, a part of Prague’s sixth district next to Baba This prominent architect of Czech modernism style had put his John Hancock on the city of Prague. In the capital city, he not only reconstructed buildings at Prague Castle but also designed two bridges, villas in the Střešovice district, a Cubist kiosk in a park, the Adria Palace, the Škoda Palace and the Juliš Hotel. He carried out reconstruction on Černín Palace, the home of the Ministry of Foreign Affairs, and Old Town Hall. He was also interested in art and founded the Artěl movement of handicrafts. He designed many objects and much furniture in this style. It was after 1925 that he changed from a decorative style and took up functionalism and urbanism. He also designed pavilions at the Jubilee Exhibition of 1908 and the pavilion for Czechoslovakia at an exhibition in Rio de Janeiro during 1922.

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View from Baba

While Janák’s works dotted Prague, Gočár made a name for himself in Hradec Králové and Pardubice. He was known for his creations in Cubist style before taking up functionalism and urbanism. He studied under the tutelage of well-known Czech architect Jan Kotěra. Gočár served as a professor of the Academy of Decorative Arts in Prague until 1939 and for a time also was the school’s rector. In Prague he is best known for designing the Rondocubist Legio Bank and the Cubist House of the Black Madonna, which had housed a museum of Cubism for many years. The café there was Cubist, too, a real architectural gem. Gočár also designed gravestones.

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View from Baba

Baba is not only architecture; it is people, the people who spent their everyday lives in the functionalist development, those who had experienced joy and hardship. I loved the stories those houses could tell. It was as if I could almost hear them whispering to me as I perused the exteriors. Walking through Baba is one of my favorite activities on a pleasant day. Now maybe you can understand why.

Tracy A. Burns is a writer, proofreader and editor in Prague.

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St. Vitus’ Cathedral as seen from Baba

German Historical Museum Diary

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Signs from the demonstrations of 1989

This museum was the highlight of my time in Berlin, and I visited it twice because I was so impressed with the more than 7,000 objects representing 2,000 years of trials, tribulations, joyous occasions and everyday life in German history from the reign of Charlemagne to the departure of the Allies in 1994. The museum not only enthralled me with its portrayal of significant events but also with its depiction of everyday life during the various epochs. The upper floor, where I spent the better part of an entire day, tells a narrative ranging in time from 500 AD all the way to the Germany’s defeat in World War I. The ground floor focuses on topics from the Weimar Republic to the departure of the Allies in 1994. The section on World War II is particularly fascinating. We see Hitler’s ascent to power in 1933 through the historical narrative of World War II horrors.

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A plague mask from the 17th century

Perhaps the item that intrigued me the most was a mask with a long beak that doctors had donned when tending to patients with the plague. It reminded me of a commedia dell’arte mask. Doctors wore leather gowns with these masks. Herbs or sponges were soaked with vinegar and placed into the beak in order to filter air. This mask was made of velvet, green glass and leather.

An artwork that I found thought-provoking depicted 19th century German emigrants huddled in a boat, trying to escape the awful conditions of their homeland, trying to build a better life for themselves, on their way to another country. Their sorrow of leaving so much behind and their uncertainty of what awaited them were revealed so well in the 1860 painting by Antonie Volkmar, “The Emigrants’ Farewell.” The sad yet brave people who were risking their lives for a better future moved me.

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I wondered how my ancestors had felt leaving Slovakia and Bohemia in the Austro-Hungarian Empire for America in the late 19th century. Did they miss their homeland? When they crossed the ocean, did their faces reveal sorrow and uncertainty, too? Had they had second thoughts during their long, arduous journey, or had the hope in their hearts given them strength to weather any storm, to overcome all the inevitable difficulties?

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I also saw photos of concentration camp prisoners that almost made me burst into tears. The photos reminded me of my trip to Auschwitz some years earlier. That visit remains forever etched in my memory. Sculptures of emaciated concentration camp prisoners vividly portrayed their suffering and desperation.

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The front page of one newspaper caught my attention. On it a big, bold headline announced, “Hitler Dead.” I could imagine the relief that so many people had felt after perusing those two words.

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A photograph of a corpse-ridden street in Dresden, shortly after the Allies’ bombing in 1945, made me shiver. I saw the horrors of war vividly in John Hearside Clark’s painting depicting the morning after the Battle of Waterloo, with so many dead and injured lying on the ground. I found the portrayal of the aftermath of the battle in which Napoleon was defeated to be chilling.

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Viewing parts of the Berlin Wall, marked with graffiti, triggered memories of my first visit to Berlin in 1991, when I saw parts of the wall still standing. At that time, I had found it fascinating to see how a city could be divided in this way, how two different worlds had evolved from the construction of that wall, one representing freedom, the other oppression. My perspective changed when I went to see the Wall Memorial featuring a standing segment of the Wall during my 2018 visit. Then, seeing the Wall then made my stomach churn and made me want to throw up. I had met too many Czechs and Slovaks who had lived under the Communist regime – which had asserted its own mental walls – to see the Wall as anything but horrific. I was no longer fascinated by the disgusting structure. Living more than 20 years in Central Europe had changed my perspective.

I also took notice of an 18th century ornate Swabian glass bridal crown donned at rustic weddings. I saw a remarkable tapestry of a festive procession of explorers returning from one of the first expeditions to India in 1504. Shields from the 13th century were also on display. A triptych from the 16th century included a panel with the coats-of-arms of the territories governed by Charles V while a likeness of this ruler dominated the central part of the artwork. I also saw handkerchiefs decorated with pictures of current events from the 19th century. I viewed tapestries promoting Nazi Germany plus many posters from that era.

For me my two visits to this museum gave me unforgettable lessons in German history. I learned that when Napoleon beat Prussia in 1806, he took the Quadridge from the Brandenburg Gate with him to Paris. Luckily, it was returned eight years later. I learned that in the 18th century, two-thirds of the population of Germany lived in the countryside as opposed to cities. I learned that the abdication of Emperor Franz II in 1806 had triggered a trend of nationalism in Germany.

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I learned about the industrialization and economic crash of 1873. I learned how the Social Democratic Movement had grown in the 19th century. I learned that the Marxist SPD Social Democratic Party of Germany had the largest membership before World War I started. I learned that 700,000 Germans died of malnutrition and related illnesses in World War I and that, in the summer of 1918, two million US soldiers fought on western front against the Germans.

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After each visit, I took my time in the atmospheric, bustling museum café and enjoyed an omelet. Then, when I walked out into the sunshine, I realized that the history in which I had been immersed was not only contained on two floors of the museum. It was everywhere, on every street corner, in each building, on the prominent Unter den Linden and down less noticeable side streets. Lessons from German history had allowed Berlin to grow into the vibrant city it was in the present, into a magical place dominated by the Reichstag and Brandenburg Gate but also by the many cafes, busy streets, parks and museums. Most of all, these lessons of history reverberate in the city’s spirit and soul.

Tracy A. Burns is a writer, proofreader and editor in Prague.

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City Museum of Prague Diary

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I had wanted to visit the City Museum of Prague again for some time, but I had just not gotten around to it. I remembered how the intriguing museum took visitors through the joys and disappointments of Czech history. This time, I went to see a temporary exhibition about Prague during the 20-year existence of the democratic First Republic, but, of course, I explored the entire museum as well.

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It was even more impressive than I had remembered. In the main hallway, I saw the calendar dial for Old Town’s Astronomical Clock, painted in 1865 by well-acclaimed Czech artist Josef Mánes. The dial was divided into circular rings. I took notice of the medieval syllable calendar. The folk costume-clad figures represented the 12 months, celebrating Slavic identity. I recognized Troský Castle in the background for September, and I knew that December symbolized the tradition of Czech pig-slaughtering, a custom the European Union did not approve of. A castle addict, I was excited to see Bezděz Castle in the background of the portrayal of March as a young farmer did his ploughing duties in the foreground. I remembered walking 4 kilometers from the train station to the ruins of Bezděz. It had entailed two kilometers of a steep, rocky incline that led to the remnants of what must have been at one time an impressive castle. I liked walking around the ruins, several pages that described each part in my hand, trying to imagine what it had looked like in its heyday. I wasn’t a big fan of ruins, but this one had charmed me.

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Mánes had also painted figures as zodiac signs. I saw dolphins with a plump cherub for Pisces. Sagittarius featured an Old Bohemian warrior while the depiction of Capricorn did not include any human figures but rather a cherub guiding a goat.

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I also noticed that Romanesque elements had greatly influenced the adornment on the dial. I recalled the Romanesque church in Regensburg, Germany, the façade an architectural delight. I had also seen many churches with Romanesque features in Czech villages. At the ruins of Vyšehrad Castle in Prague, St. Martin’s rotunda fit the Romanesque style.

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I walked into the prehistory section, not knowing if I would find it interesting as prehistory was not my cup of tea. I discovered that the first archeological find in Prague was unearthed near St. Matthew’s Church in Prague’s sixth district, a nice walk from where I had lived for many years. The small church had an intimate flair, and if I had been religious, I would have gone there for services. I would also like to be buried there. It is a relatively small and beautiful cemetery in my favorite section of Prague, but I do not think that would be possible. The cemetery is home to some famous Czech artists – architect Pavel Janák and actor Jiří Kemr.

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I also learned that the first farmers in Central Bohemia came in 6 BC. Another interesting fact was that the Celts, in the second half of 1 BC, were the first people to wear trousers in Central Europe.

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The medieval displays were eye-catching. Frescoes and wall paintings from Prague houses were highlighted. I read that Prague’s boroughs were created in the 13th and 14th centuries when a medieval fortress had been built. I already knew the Old Town was founded by King Wenceslas I during the 1230s. I read about the origins of the various districts of Prague. A statue that got my attention showed Christ in agony, hailing from 1413 and made of linden wood. Ceramic stove tiles showed pictures of Hussite soldiers from the 15th century, when the Hussite wars ravaged the Czech lands.

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Rudolf II’s Prague was also featured in the museum section that documented Prague from 1434 to 1620. Artists had flocked to Prague, which had made a name for itself as a center of European Mannerism. Rudolf II’s collection of art and curiosities was certainly impressive. An art gallery at Prague Castle displayed much art that had been attained during his reign. I had also seen many of Rudolf II’s curiosities in the Kunsthammer in Vienna.

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Of course, the Thirty Years’ War was given much attention, as the Catholic victory over the Protestants would greatly influence Prague and Czech history for hundreds of years. Before the war, there were many Ultraquists in Prague society. The defining battle for the Czech lands was at White Mountain in Prague during 1620. The townspeople of Prague were not happy with the then current legal, economic and political roles of towns and took part in this battle. During the war, the Saxons occupied Prague, and the Swedes pillaged and bombed the New Town in Prague.

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I remembered living near the Vltava embankment in the pleasant New Town. I tried to imagine the damage and destruction that those bombs had brought to the quarter. It must have been a devastating sight. Prague became part of a province after the war, and Baroque art and architecture became the fashion. In 1624 Catholicism became the only religion allowed in the Czech lands. During the Baroque period, Czech artists including the Dientzenhofer family of architects, sculptor Matthias Bernard Braun as well as painters Karel Škréta, Petr Brandl and Norbert Grund made their way to Prague in 1710 and had a great influence on the art in the city.

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The reign of the Habsburgs brought with it a long period of Germanization and a centralized monarchy that dominated the 18th century. Some of the exhibits on display from this century were intriguing, to say the least. A table clock took on a macabre character, featuring a skeleton wielding a scythe. There was also a wooden throne from St. Vitus Cathedral, made in the second half of the 17th century. A glass garden with musicians and nobles was another impressive creation.

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Then Prague experienced peace for 100 years. The exhibition ended with the Baroque section, but there was more to the museum, specifically Antonín Langweil’s model of Prague, constructed from 1826 to 1837. He had worked in the University Library at the Clementinum when he was not creating this amazing three-dimensional model of the city. The precision and detail left me in awe. He did not finish the project, but what he did create is astoundingly beautiful and innovative. I saw many sights I had first become acquainted with when I was a tourist in the city during the summer of 1991 – Prague Castle, the Charles Bridge and the Lesser Quarter’s main square as well as the Old Town, St. Vitus Cathedral and the Old Jewish Cemetery.

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I recalled walking to Prague Castle across the Charles Bridge early each morning when I first moved to Prague and lived in the Old Town. I would never forget standing below the balcony of Prague Castle on a frigid February evening in 1994 while Václav Havel gave a speech as the first President of the newly created Czech Republic, his wife Olga by his side. I recalled the moment I had set my eyes on Old Town Square for the first time, back in 1991, feeling at once that I had found my true home.

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What I found just as impressive as the exhibits were the richly adorned coffered ceilings in the museum. The painting is incredible. One used to be in a house in Prague and hails from the 17th century. On walls of the upper floor is a magnificent painting of the city.

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While I already had a solid foundation in Czech and Prague history before this visit, I realized how important this museum would be as a learning experience for tourists who really wanted to become acquainted with the historical events that had shaped the city’s identity through the Baroque era.

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It was such a shame that the displays ended with the Baroque era, but there was no more space in the museum. I thought that a museum of more recent history should be created with a special room celebrating Václav Havel as a dissident, playwright and president of Czechoslovakia and the Czech Republic.

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Walking through this museum, I was moved by the lands’ often tumultuous history and reminded how the history of the city seeps into my soul every day, no matter where I am. Just looking around me, I feel the history, which is one of the traits I like most about Prague. It is one reason I feel at home here and don’t want to leave.

Tracy Burns is a writer, proofreader and editor in Prague.

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2018 Travel Diary

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A building in Rovereto, one of my favorite places I discovered this past year

For me 2018 will always be associated with Palladian villas and the Veneto region of Italy, the excitement of Berlin and remarkable Czech sights. I also visited some unforgettable art exhibitions in Prague and elsewhere in Europe.

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Basilicata Palladiana, Vicenza

During March I traveled with a friend via the arsviva agency to the Veneto to see Palladian sights and other architectural gems in Vicenza, Padua and Rovereto. The three cities were fascinating, each with its own unique character. I was especially drawn to Vicenza for the Teatro Olimpico, Palazzo Leoni Montanari and Palazzo Chiericati. Of course, I admired the elegant arches and arcades of the Basilicata Palladiana.

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The highlight of my tour of Palladian architecture was the Teatro Olimpico, one of only three Renaissance theatres in existence. Palladio’s plan was based on classical architecture. I most admired the illusive architecture in the set for Oedipus Rex, the oldest existing theatre scenery, which featured painting with a false perspective. It looked as if the seven roads of Thebes led from the stage into the horizon. Also, it was difficult to fathom that the clear sky was really painted. The illusion seemed so real.

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A Russian icon in the Gallerie d’Italia

I cherished my time in the galleries of Vicenza. The Gallerie d’Italia was decorated with rich statuary, stucco ornamentation and frescoes. It houses 18th century Venetian painting, a unique 17th century sculpture made of Carrara marble and vases from Attica and Magna Graecia. However, the highlight of the gallery for me was its superb collection of Russian icons. I had only seen more intriguing collections in St. Petersburg.

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The interior of the Civic Museum

The Civic Museum in the Chiericati Palace also caught my undivided attention. The palace itself was a work of art, designed by Palladio in 1550 with frescoes and stucco adornment decorating the interior. The art spanning from the 1200s to the 20th century was incredible.

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Villa Rotunda – no pictures allowed inside

I also saw some Palladian villas, including La Rotunda, which inspired Thomas Jefferson in his design of his home at Monticello. The exterior’s appearance is that of an antique villa. The geometric design connects the sloping portico roofs with the ribs of the dome. The geometric interior was planned for comfort and beautiful views. The rooms are organized around a central hall with a dome. The villa has three floors and a mezzanine.

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Basilica of San Antonio or Basilica del Santo – no photos allowed inside

In Padua I gazed in wonder at the Basilica of Saint Antonio, which is huge with eight cupolas. The interior has a Latin cross pattern with three naves separated by pilasters. The various chapels were outstanding. The Chapel of Saint Giacomo, hails from the 14th century with six columns of red marble included in the décor. The work, “The Crucifixion” is divided into three parts on the walls. Pictures on lunettes narrate the life of Saint Giacomo the Great.

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Basilica of San Antonio, Padua

The main altar of the basilica was created by Donatello. The pictorial narration of the altar includes four miracles of Saint Antonio, sculpture of the Crucifixion, Madonna with Child and the figure of Saint Antonio, for example. The Chapel of the Saint includes the tomb of Saint Antonio. On the walls are nine reliefs of marble figures recalling miracles performed by Saint Antonio. There was so much to see, a person would need a few days to do this place of worship justice.

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Scrovegni Chapel, Padua

I also was enthralled with the Scrovegni Chapel, which featured amazing 14th century frescoes by Giotto di Bondone. Thirty-eight panels of frescoes cover three walls on three levels. I was flabbergasted, staring at each fresco in a trance.

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From the Depero Futurist House of Art, by Fortunato Depero

I was very impressed with Rovereto, a picturesque town below the Dolomites. Its charming, narrow streets and squares cast a magic spell on me. I visited the Depero Futurist House of Art, the only Futurist museum in Italy, featuring the works of Fortunato Depero, a painter, sculptor, writer and graphic designer. I learned that Futurism rejected the past and celebrated modernity as well as technological advances. The museum included furniture, painting, tapestries, cloth material, drawings, collages, posters, toys and a film. I loved the vibrant colors of many of the works.

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Nowadays school children hang out or wait for tours at the Berlin Wall remnants

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Glazed dome of Reichstag

In May I spent five days in Berlin, a city I had not visited since 1991 except for a one-day visit to the Gemaldegalerie several years earlier. The East had undergone radical changes since then, to say the least. Most of the Wall is gone. The former Communist section of the city is lively with bars and restaurants and includes most of the main sights. Now a Dunkin Donuts and Starbucks greet visitors past the Brandenberg Gate. Back in 1991, the difference between East and West Berlin was almost tangible, the East being gray, depressing and drab.

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The Memorial to the Murdered Jews of Europe

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Pieter Bruegel the Elder in the Gemaldegalerie

Once again I inspected the art ranging from medieval days to Neoclassicism in the Gemaldegalerie. I was very moved by the 220 meters of original Berlin Wall at the memorial on Bernauer Strasse. Berlin’s Cathedral impressed me a great deal with the eight mosaics decorating its dome. I had a tour of the Reichstag’s glazed dome, a superb structure of modern architecture soaring 47 meters. The Memorial to the Murdered Jews of Europe greatly moved me with its 2,711 concrete blocks of equal size but different heights. The DDR Museum with its multimedia exhibits gave me an idea of what life was like for East Germans under Communism. The Old National Gallery bewitched me with its 19th century art collection, and the temporary exhibition Wanderlust featured 19th century landscapes with travelers on foot. I particularly liked the pictorial renditions of Naples and places in Sicily. I saw the Ishtar Gate and a building from Aleppo in the Pergamon Museum, for instance. The Museum of Decorative Arts was a treasure, too, with amazing exhibits in fashion, design and object art from the Middle Ages through Art Deco.

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Plague mask worn by doctors in the German Historical Museum

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Pictures of concentration camp prisoners

What impressed me the most was the German Historical Museum, where I spent a good part of two days. Encompassing 2,000 years of German history, the museum takes the visitor from the reign of Charlemagne to the departure of the Allies in 1994 by presenting historical facts, personalities and events and by portraying everyday life in the various eras. I especially liked the plague mask worn by doctors treating patients with this disease. Made of leather, it had a long beak and looked as if it belonged in a commedia dell’arte play. The section about World War II was especially gripping. The Germans were certainly facing that horrific part of their past head-on in this museum.

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Troja Chateau from Prague’s Botanical Gardens

When my parents visited, we toured the dazzling Rudolfinum with its beautiful Dvořák concert hall. President Tomáš G. Masaryk was elected in that building on three occasions, when Parliament had met there during the First Republic. I visited the lovely and vast Botanical Gardens in Troja, examining the southern part and the greenhouse. The views of Troja Chateau from the gardens were unbeatable.

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Prague’s National Museum restored

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Painting of Karlštejn Castle in National Museum

Shortly after it reopened after a seven-year renovation, I spent time in the National Museum of Prague. The exhibition about Czech and Slovak relations during the past 100 years and life under Communism was outstanding. The permanent display also was captivating, but the place was so crowded. A Neo-Renaissance gem, the National Museum features amazing sculpture, painting and architectural elements. I especially liked the pantheon, where paintings, statues and busts celebrate Czech culture and history. The four paintings of castles in Bohemia impressed this avid castlegoer. I also explored the Hanspaulka, Ořechovka and Baba sections of Prague with their distinctive villas.

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Gothic archway in Horšovský Týn Castle

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From Horšovský Týn Chateau

Out of Prague I made my way back to Osek Monastery below the Krušné Mountains, established in the 13th century. The Chapter Hall was one of the first Gothic buildings erected in the Czech lands while the interior of the church takes on a Baroque appearance. Hořovice Chateau is much younger, hailing from the late 17th century. The Late Baroque décor includes a fantastic ceiling fresco in the hall of the main staircase. The Large Dining Hall amazes with Second Rococo adornment. Horšovský Týn Castle and Chateau offers six tours; we had time for two. Established in the 13th century, it includes an 18th century pool table with its sides decorated in tortoiseshell and intarsia. A Rococo jewel case and Holland Rococo display case caught my attention, too. The Italian vedutas of Venice made me long for that Italian city. The 18th century Dancing Hall features four big wall mirrors and a 28-branch chandelier made of Czech glass. Ceiling frescoes also captured my interest. However, the original Gothic portal at the entrance to the chapel was the most outstanding architectural feature. The chapel was magical, too. Velké Březno, one of the youngest and smallest chateaus in the Czech lands, also amazed.

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Ceiling fresco at Hořovice Chateau

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Velké Březno Chateau interior

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Velké Březno Chateau exterior

I also spent time in museums this past year. In Vienna I saw the excellent Monet exhibition as well as the Pieter Bruegel the Elder exhibition. Both captivated me. In Prague the exhibition showcasing the various collages of Jiří Kolář was an art highlight. The exhibition about Czech and Czechoslovak history in the Riding School of Prague Castle was unforgettable. There were many more art-related highlights, but I do not have time to mention them all.

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Collage by Jiří Kolář

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Prague Castle Riding School exhibition

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From Czechoslovak Exhibition at National Museum, cash register from beginning of 20th century

Tracy A. Burns is a writer, proofreader and editor in Prague.

 

 

 

National Museum Diary

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I was introduced to Prague’s National Museum during July of 1991, when, for the first time, I saw objects and attire from World War II on exhibit there. I couldn’t believe that I was actually looking at real Nazi uniforms and authentic items from the horrific era of the Protectorate of Bohemia and Moravia, a period I had only read about in books while growing up in the USA. The exhibition made me even more aware of what a nightmarish time of oppression and terror it had been. I had never felt so close to history before that trip to Prague. It was an unforgettable experience for me, as were many moments during that first foray to one of the lands of my ancestors. By the time I moved to Prague in September of that year, the exhibition was gone. I occasionally visited the museum after that, but nothing there would influence me that strongly.

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Fast forward to late October of 2018, when the National Museum reopened after seven years of reconstruction. The once grimy façade of the Neo-Renaissance gem now looked squeaky clean. Inside the most significant scientific and cultural institution in Bohemia was an exhibition about Czechs and Slovaks during the 100 years of existence since Czechoslovakia was formed in 1918. Right now, though, I am going to write about what I saw in the building itself as I savored the beauty of the sculpture, painting and architecture of the interior.

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First, it is necessary to have some background about the museum in order to appreciate it fully. The year 2018 marks the 200th anniversary of its founding, as Kašpar Maria Šternberg and other prominent Czechs established the institution in 1818. During the 19th century, the museum became a symbol for Czech nationalism. At the time, Czechs were experiencing an era of Germanization with the Habsburg rulers at the helm. The Journal of the Bohemian Museum published there in Czech had a profound influence on Czech literature.

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The current building was erected from 1885 to 1891 thanks to architect Josef Schulz. The edifice survived World War II but not without damage. The items normally housed in the museum had been transferred to another location, fortunately. Still, that wouldn’t be the last time the National Museum became a victim of historical events. When the Warsaw Pact armies invaded Prague in August of 1968, the Soviets shot at the museum, riddling it with bullet holes. The Russians also destroyed some sculptures, for instance. During 1969, university student Jan Palach set fire to himself as a protest against the rigid normalization period in front of the museum. He would succumb to his injuries in the hospital. The National Museum was also damaged during the construction of the Prague Metro in 1972. Six years later a large highway around the museum would prove a detriment.

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The museum has served as a backdrop for many demonstrations and events throughout Czech history. I recalled the museum looming in the background as I walked around the State of Saint Wenceslas in December of 2011, observing all the candles and tributes to former dissident-turned-president Václav Havel shortly after his death. I had set a rose in front of the statue. Thinking back, I missed those days when Havel had been in the Castle.

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The exterior of the National Museum that dominates Wenceslas Square is noteworthy. Sandstone statues, stucco and exquisite reliefs all add to its elegance and distinction. Allegorical statues are situated above a fountain, for example. The building consists of a large central tower with a dome and a lantern. There are four domes. A pantheon is located beneath the main dome. The exterior staircase is grandiose, too. In front of the museum, there is a splendid view of Wenceslas Square.

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The moment I stepped inside the museum I was again entranced with its elegance. The entrance hall consisted of a monumental staircase fit for royalty with a coffered ceiling and 20 tall columns of red Swedish granite. Above are two floors with decorated arcades and beautiful floors. Upstairs I saw portraits of rulers of Bohemia and four paintings of significant castles in Bohemia – Prague Castle, Karlštejn, Zvíkov and Křivoklát. I loved spending my spring and summer weekends castle-hopping. I remember the many strolls I took to Prague Castle across the Charles Bridge many early mornings when I first moved to Prague and resided in the center. The chapel at Karlštejn Castle was one of the most beautiful sights in a castle interior. I also spent time admiring the 12 depictions of historical places in Bohemia, such as that of Český Krumlov, the most picturesque town in the country after Prague with its castle boasting three tours and Baroque theatre as well as extensive castle garden. Bronze busts rounded out the decoration.

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The pantheon is perhaps my favorite section of the museum because it celebrates Czech history and culture, two subjects dear to my heart. The paintings, statues and busts serve as poignant reminders of the nation’s cultural accomplishments and historical contributions. Even the door of the pantheon is magnificent with its rich woodcarving. In the pantheon I found statues of Czech historical figures who have made me excited about the nation’s history – František Palacký, a 19th century historian, politician and writer dubbed The Father of the Nation. His seven-volume History of the Czech Nation in Bohemia and Moravia remains a significant source of information for modern day historians. He also was a major participant in the Czech National Revival.

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Jan Amos Comenius’s likeness was there, too. He was a religious and educational reformer who authored textbooks, encyclopedias and dictionaries as well as one of the most important works of Czech literature, The Labyrinth of the World and Paradise of the Heart. The statue of Antonín Dvořák made me think of his New World Symphony, which I saw the Czech Philharmonic perform in an awe-inspiring concert. Karel Čapek’s statue brought to mind my graduate studies that in part focused on his plethora of works of various genres. The paintings in the chamber are also extraordinary. One of the lunettes that celebrates Czech history in the pantheon shows the founding of Prague University, now Charles University, in 1348 with Emperor Charles IV playing the central role.

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The statue of first Czechoslovak President Tomáš Garrigue Masaryk has an intriguing history. It was removed during World War II and slated to be melted, but somehow survived a tenure in a junkyard and was reinstalled after the war. During the Stalinist 1950s, the government wasn’t exactly enthralled with Masaryk, so his statue was placed in the depository. When the liberal reforms of the 1968 Prague Spring were in full swing, the statue of Masaryk was reinstated in the pantheon. Throughout the 1970s and 1980s, Masaryk’s likeness remained there, even though the Communists did not put him in a favorable light. If I could live in another time period, I would choose the 1920s of Czechoslovakia, when the country was freshly on a democratic path with Tomáš Garrigue Masaryk leading the way.

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Once again, the building cast a magical spell on me as I felt overwhelmed by the painting and sculptural decoration. Both the exterior and interior were filled with a sense of grandeur and splendor that made me reluctant to leave.

Tracy A. Burns is a writer, proofreader and editor in Prague.

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View of Wenceslas Square from the National Museum