2024 Travel Diary

December 23, 2024 by Tracy's Travels

David Caspar Friedrich, The Wanderer

As usual, this past year was punctuated by travel, though most trips only lasted one day or half of a day. Still, I was able to explore many sights within a two-hour distance of Prague. Once again, I realized that the Czech Republic blossoms with beauty in every niche of the country.

Perhaps the painting that best expresses my year of travel is one I saw at an exhibition of David Caspar Friedrich’s paintings from the Romanticist era. While admiring his “The Wanderer,” I saw the back of a male figure in the forefront, standing on a cliff as he peered at the mist-filled mountains beyond. It epitomizes why I love travelling: to discover new worlds, to muddle through that mist, reaching a clarity that allows me better to understand myself as well as to gain historical knowledge.

By David Caspar Friedrich, on display at Albertinum for temporary exhibition

In the Dresden Albertinum, I was mesmerized by Friedrich’s landscapes. Many featured vibrant colors and a brilliant use of light. He also created dark paintings with a chiaroscuro element that gave them a mystical appearance. Some of his landscapes included a solitary figure traveling alone in nature. Friedrich’s gnarled trees in barren environments were symbolic. I felt especially drawn to his portrayal of mountains in shades of pink.

By Marc Chagall, on display at Albertina in Vienna for temporary exhibition

By Paul Gauguin

By Hoogstraten, Rembrandt’s pupil

I spent three days in Vienna going to major exhibitions featuring works by Chagall, Gauguin and Hoogstraten, a star pupil of Rembrandt. I hadn’t realized how many of Chagall’s paintings took on Jewish themes and serious topics. I had always thought of Chagall’s art as fun-loving and colorful. My favorites were those inspired by Paris and the circus, created in bright blues and yellows. The Gauguin retrospective showed his works from various time periods, so it was possible to see his specific artistic developments. I was most impressed with his early landscapes. I had not heard of Hoogstraten, whose portraits brought out the soul in the sitters just as Rembrandt’s did. His intriguing use of perspective in some paintings also impressed me. Works by Rembrandt also enchanted me in this exhibition.

Franz Xaver Messerschmidt, Character Heads

by Gustav Klimt on permanent display at Upper Belvedere

By Václav Špála, on display at Upper Belvedere

City of Vienna Museum, permanent collection

We also visited the Upper Belvedere Palace Museum in Vienna. While it is best known for its Gustav Klimt and Egon Schiele creations, I was entranced with the medieval art in the basement and the Central European collection that featured Czech greats such as Jan Procházka, Bohumil Kubišta and Václav Špála. The Klimt paintings were extremely powerful as were all the Impressionist and Post-Impressionist works. My favorite part of the museum involves the unique Late Baroque Character Heads by Franz Xaver Messerschmidt, who rendered alabaster busts of insane people with unique facial expressions. You could see into their souls. In Vienna I entered the City Museum for the first time. The exhibits trace the history of the city from the beginnings to modern day. I saw intriguing paintings, furnishings, posters and objects, among others.

by Eva Švankmajer

Puppets by Jan Švankmajer

Puppet by Jan Švankmajer

I also went to many exhibitions in the Czech Republic outside of Prague. In Kutná Hora I visited an exhibition of works celebrating the 90^th birthday of Jan Švankmajer, a surreal artist, along with creations by his wife Eva. The exhibition Disegno Interno included collages, graphic art, objects, book illustrations, drawings, paintings, animated film creations and puppet theatre of both artists from the 1960s and later. Their creations included works that resemble Rudolfine Mannerist renditions as kinds of cabinet of curiosities and art inspired by Giuseppe Arcimboldo. I also noted the inspiration of the Baroque tradition in puppet theatre. Other works fell into the categories of art-brut, eroticism, fetishes and collages influenced by Max Ernst. Much of their art was deeply rooted in the writings of Edgar Allan Poet and Lewis Carrol. Scenography for Czech film was another section. I realized for the first time that surrealist art had been influenced to a great extent by Mannerist trends.

From Through Kafka’s Eyes, graphic art about The Metamorphosis

Through Kafka’s Eyes, Oto Kubín, Brindisi, 1906

In Pilsen I went to an exhibition called Through Kafka’s Eyes, featuring the art that had surrounded Kafka at the end of the 19^th century and the beginning of 20^th century. I saw posters for Czech art exhibitions in the early 20^th century and those advertising 19^th century Japanese art as well as works by stellar Czech artists. Paintings by Kubišta, colorful and vibrant, were represented along with sculpture by František Bílek. Czech artists who spent their interwar years in Paris were included, such as Oto Kubín and Georges Kars. Kafka’s own Jewish-themed drawings were a highlight. German art and literature rounded out the intriguing exhibition.

Great Synagogue, Pilsen

Great Synagogue, Pilsen

I also took the time to visit the Great Synagogue in Pilsen, the second largest synagogue in Europe and third largest in the world. On the onion-shaped dome the Star of David stood out. What I admired most was the vaulted ceiling punctuated with blue and gold adornment. Another feature that amazed me was the artistic mastery of the stained glass windows with geometric shapes and figures. The interior is furnished in Oriental style with Neo-Renaissance elements.

Pilsen, U Saltzmannů

We ate at my favorite restaurant in Pilsen, U Saltzmannů, the oldest pub in the city. The Czech food at this establishment cannot be surpassed. I had fried chicken steak this time.

Škoda Museum

In Mladá Boleslav, about 70 kilometers from Prague, I visited for the first time the Škoda Museum, named after the popular Czech automobile manufacturer. The company began making bicycles with Václav Klement and Václav Laurin at the helm in 1895 and soon developed a rich tradition of producing cars. The automobiles on display ranged from vehicles made at the end of the 19^th century to those produced in the modern day. I liked the early bicycles, including a two-seater for postal carriers. The cars from the early 20^th century were also favorites.

In that same city, we also visited the Aviation museum of Metoděj Vlach, which explored the history of aviation with more than 25 airplanes in the main hall, some hailing from World War I. I saw the 1913 G-III by Gaston and Réné Caudron. It had an open cockpit and 9-cylinder rotary engine. The two-seater wooden plane constructed by the Beneš company called a Be-60 Bestiola featured a 4-cylinder engine and had been flown from 1936 to 1940. The adorable W-01 Little Beetle had been used for airshows in the 1970s.

At that museum, I also learned about the career of pilot Alexander Hessman, who also had starred in a 1926 silent Czechoslovak film. He was the organizer of the Czechoslovak aircraft for the 1936 Olympics. After the Nazi Occupation in 1939, he helped pilots escape with false passports, and he wound up fleeing from the Protectorate to France and then to the USA in January of 1940. After World War II, he returned to Czechoslovakia but fled from the Communist regime, settling in the USA, where he was a technical assistant with PAN AM in New York City.

Mexican mask, Museum of Glass and Jewellery, Jablonec nad Nisou

I traveled several times to north Bohemia this past year. One time I went to Jablonec nad Nisou, where the Museum of Glass and Jewellery was located because of the rich local tradition in these fields. I was immersed in the exotic jewellery of strung and woven glass seed beads by North American Indians, using products from north Bohemia. A mask of the jaguar hailed from the Huichol Indian tribe in Mexico. Glass seed beads from Jablonec nad Nisou were used to make a necklace by the South African Zulu tribe, dated from 1880 to 1900. Jablonec has been the location of the mint for the country’s currency, so many commemorative coins were on display.

I also was impressed by buttons made of glass, metal jewellery and black glass jewellery as well as wooden and plastic jewellery. Colorful handbags, masterfully designed, also made up the collection. The Waldes Museum of Buttons and Pins included more than 5,00 buttons, clasps and buckles with the oldest dating from 9 BC. The Bohemian glass exhibition showed off glass in many styles ranging from medieval and Renaissance to Empire and Biedermeier to Art Nouveau and Art Deco to modernism and contemporary. The museum also has the largest public collection of glass Christmas ornaments in the world with more than 15,000 objects. I saw ornaments of angels, birds, cats, dogs, Santa Clauses, gingerbread men and much more, all contemporary.

Josef Lada’s Villa in Hrusice

I made my first visit to Josef Lada’s Villa in Hrusice, where that author, painter, book illustrator and scenographer had lived while making some 600 paintings and 15, 000 illustrations. I saw his paintings of idyllic village life featuring all four seasons. Children threw snowballs and make snowmen in a quaint village in one painting while a squirrel was perched attentively on a tree branch, overseeing a tranquil village scene in another. Pub scenes showed humorous drunken brawls. I would have loved to have owned one of the charming cottages depicted in his paintings. I loved the paintings of knights and dragons from fairy tales as well as the paintings representing the months of the year. His paintings of scenes from Jaroslav Hašek’s antimilitaristic, multi-volume classic about the Good Soldier Švejk in the First World War caught my attention. Many of his paintings focused on holiday traditions. I also saw his humorous drawings and caricatures.

From the First Republic of Czechoslovakia

Poster by Václav Ševčík commemorating the day of the invasion by the Warsaw Pact armies, August 21, 1968

In Prague I took advantage of the stunning exhibitions this past year. I went to two excellent shows at Kampa Museum. One featured Czech graphic art from the founding of Czechoslovakia in 1918 to the present. I saw the first star-studded designs for the Czechoslovak flag as well as many political posters from the World War II era through Communist times to the Velvet Revolution of 1989. Václav Ševčík made a poster focusing on the day of invasion of the Warsaw Pact armies into Czechoslovakia on August 21, 1968, when the country’s liberal reforms were squashed. The poster shows a blood-red tear below an eye outlined in black on a white background.

Vítězslav Nezval, Alphabet, with typography by Karel Teige

Kampa Museum, Identity exhibition of graphic art, Cindy Kutíková

Other sections concentrated on magazine and book design. I saw beautiful children’s volumes illustrated by Lada, Josef Čapek and Jiří Trnka. I was drawn to the covers and typography of Karel Teige, an avantgarde interwar artist. The exhibition showcased contemporary times by displaying a colorful, large Quantum Beaded Sweater created in 2020 and 2021 by Cindy Kutíková, for instance.

Václav Tíkal, 1944

Otakar Nejedlý, Waterfall, 1913-14

Another exhibition at Kampa Museum focused on paintings from the private collection of entrepreneur Vladimír Železný, purchased for his Golden Goose Gallery. Called The Goose on Kampa, the show featured 70 paintings representing works from the beginning of the 20^th century through the 1960s, such as creations by Toyen, Jiří Štyrský, Špála, Emil Filla, Jan Zrzavý and Mikuláš Medek. One painting that caught my undivided attention was Václav Tíkal’s 1944. A hand partially covered in a ripped black glove showing the fingertips, thumb and part of the palm was emerging out of the frozen, snow-covered earth in a barren landscape.

Otto Gutfreund, Viki, 1912-13 from Cubist period

On that day I also explored the Kampa Museum’s permanent collection, specifically the sculptures of Otto Gutfreund, whose early works can be classified as Cubist. His later creations, made after World War I, featured traits of Civilism, which promoted themes of everyday life.

Bohumil Hrabal, 1952, Tragedy! What a Tragedy!

At the Museum of Czech Literature, I greatly appreciated a small exhibition due to my interest in the works of the late 20^th century Czech fiction writer Bohumil Hrabal. The modest show emphasized the artistic relationship and friendship of Hrabal and abstract artist Vladimír Boudník, who created the “Explosionism” style. I was most impressed by Hrabal’s collages from the 1950s. One featured a Singer sewing machine, a naked baby and barbed wire heading into the horizon as white crosses in a graveyard punctuated the picture. It was called “Tragedy, What a Tragedy!”

Oto Kubín, Chapel in Simione, 1926

Maurice Utrillo, Chateau de la Seigliere (Aubusson), 1930

The Wallenstein Riding Stables was the site of an intriguing exhibition about artists from Bohemia residing in Paris between the wars. They were part of the “Paris School,” which featured a variety of styles. Czechs Kars, Kubín (Othon Coubine) and Francois Zdeněk Eberl made strong impressions in the lively, vibrant Paris of the 1920s. The themes of the paintings were many: portraits, cityscapes, street life scenes, café and entertainment scenes as well as a focus on the circus and cabaret. I was drawn to Kubín’s landscapes of Provence. The lavender fields were my favorite. Also represented were foreign artists, including Marc Chagall and Maurice Utrillo.

Hendrick Goltzius, The Four Disgracers, 1588

Also at the Wallenstein Riding Stables, the exhibition “From Michelangelo to Callot: The Art of Mannerist Printmaking showed off more than 200 works of 16^th and 17^th century graphic art, drawings, paintings, jewelry, etchings, lithographs, ceramics and other artistic crafts that hailed from the Netherlands, Germany, France and the Czech lands. The Louvre lent Prague’s National Gallery many works. Some pieces in the collections were being displayed to the public for the first time. A superb small drawing by Michelangelo drew crowds, and art by Hendrick Goltzius, Paul Bril, Aegidius Sadeler and Niccolo Boldrini stood out to me.

Painting by Karel Kryl, temporary exhibition at House of the Golden Ring

Karel Kryl giving a concert

On my birthday I went to the House of the Golden Ring near Old Town Square. I saw an exhibition about the late dissident singer and songwriter Karel Kryl, whose music had been poetic, profound and political. He had lived in West Germany during much of the Communist era and had worked for Radio Free Europe. I realized how politically-motivated his songs had been and how he had supported the Poles as well as the Czechoslovaks in their fights for freedom. I was engrossed by his artwork, disturbing and grotesque scenes with one-legged clowns and half-human, half-creature figures.

Pieter Brueghel II

One of my favorite exhibitions of the year, taking place in Kinský Palace, was called “Get on the ice!”, featuring hockey and skating in paintings and other artistic creations. It reinforced the fact that ice hockey and skating have played significant roles in Czech and Slovak identity. I especially was impressed by the works of the Dutch masters who had inspired Czech painting. Pieter Brueghel II’s scene of skating on a pond caught my undivided attention. Czechs first represented skating on the Vltava River and on ice rinks.

Then hockey became the major theme, first portrayed realistically and then in the 1960s expressed in an experimental fashion. I was drawn to František Tavík Šimon’s “Ice Rink Under the Charles Bridge” (1917) with its large falling snowflakes and idyllic, historical setting. One example of the experimentation of the 1960s is Vojtěch Tittlebach’s “Hockey” from 1965, with abstract shapes and simple forms. The players in this painting had no facial traits. Jiří Kolář also added to the experimentation of the 1960s with his “Hockey Sticks,” composed of three wooden sticks decorated with paper collages, many of them maps and some historical scenes. The 1998 Czech Olympic victory at Nagano was celebrated in large photographs, including one that showed the moment Czech Petr Svoboda scored the winning goal while the crowd in Old Town Square erupted in joy.

New Realisms, Karel Čapek from series Cactuses, first half of the 1930s

One-Handed Ice Cream Man, Miloslav Holý, 1923

In Prague I also saw the New Realisms exhibition, which focused on modern Realist trends in Czechoslovak art from 1918 to 1945. The more than 600 works hailed from the Czech and Slovak lands as well as Germany and Hungary. I especially liked Karel Čapek’s photographs of cactuses and his dog Dašenka as this field focused on the everyday during this era. I also liked the many café scenes, realistic portraits of people, magic realism in landscapes, the focus on the societal and economic dilemmas in Czechoslovakia and the depiction of modern labor. I have always been interested in the paintings of Group 42 as their works had an existential quality, often punctuated by telegraph wires and deserted streets.

Francesco Bartolozzi, The Girl and the Kitten, 1787

One of my favorite exhibitions in Prague this past year was called “The Good Cat and the Treacherous One,” featuring cats in graphic art from the 16^th to the 18^th century. The art shows how some people revered cats while others hated felines. They often symbolized something or were shown for entertainment. Some considered them to be a form of the devil. Others gave them positive religious connotations. I especially enjoyed the Mannerist works by Goltzius and the graphic art by Wenceslaus Hollar, who portrayed cats with both positive and negative qualities. I saw pictures of cats symbolizing maternal love, sight, hearing, devotion, courage, yearning for freedom, foolishness, frivolity, cruelty, greed, treachery, lust and adultery. I also noticed cats as protectors against snakes. A French painting showed how, in 18^th century France, cats had epitomized personal and political freedom.

Clam-Gallas Palace

I focused mostly on day trips when traveling this past year. While I visited chateaus, castles and monasteries outside of Prague, I did also become acquainted with the renovated Clam-Gallas Palace in the capital city. The Baroque palace became the property of the Gallas family in the 17^th century. The palace has a rich musical and theatrical history as Mozart and Beethoven both performed there during the late 18^th century. The colossal exterior portal is decorated with statuary by Baroque master Matyáš Bernard Braun, and he also created the fountain portraying Triton.

Murano chandelier in Clam-Gallas Palace

The many monumental frescoes amazed as did the chandeliers, especially the 19^th century chandelier made of Chinese porcelain cups, saucers and vases. Frescoes depict the triumph of Apollo and gathering of the gods on Olympus, for instance. Allegorical figures representing sculpture, architecture and painting stand out in another fresco. I was very impressed with the former office of the first Czechoslovak Minister of Finance, Alois Rašín, though it was sparsely furnished. He had tried to gather support for the creation of Czechoslovakia during World War I and had even been imprisoned for taking part in the resistance. Rašín was assassinated in Prague during January of 1923 by a 19-year old anarchist.

Bohumil Hrabal’s cottage in Kersko

Kersko near Prague is one of my favorite tranquil spots in the country, a village where Hrabal resided from the 1960s until his death in 1997 and where he fed many feral cats daily. Hrabal’s two-story cottage opened to the public for the first time this spring. I saw the garden where he wrote some books and the charming enclosed terrace where he composed his works when weather did not permit him to spend time in his garden. I saw the chair in which Hrabal wrote his last literary piece, during 1995. The top floor was adorned with many paintings – a moving portrait of Hrabal by Jan Jirů, a drawing featuring heads of Hrabal from his youth to old age in a rendition by Jiří Anderle. Another portrayed cats on chairs in a forest setting along with Hrabal himself. Portraits of his family and a collage focusing on one of his books also caught my undivided attention. The place captured the soul of Hrabal, and I was very moved.

In the local shop, known for its ceramic figures of cats, there was an exhibition of drawings of Hrabal – at the pub, in Heaven, in Kersko, each rendition celebrating the author in a creative way. We ate at my favorite restaurant outside of Prague, Hájenka, a prominent landmark in Kersko. Whether I chose the chicken with cheese sauce, the meat with dumplings or the fried chicken steak, I was always delighted by the meal in a rustic, charming atmosphere.

Mariánská Tynice complex

I traveled about 35 kilometers north of Pilsen to pay a second visit to the High Baroque complex with pilgrimage church Mariánská Tynice, an aerial constructed by renowned architect Jan Blažej Santini during the 18^th century, using geometric forms such as quadrangles and triangles as features of his Baroque Gothic style. The church with a Greek cross plan had an impressive illusionary main altar of the Holy Trinity while the east and west ambits were constructed with open arcades featuring eight chapels. The masterful painting on the vaulting and walls celebrates the lives of the Virgin Mary and Cistercian saints. The cupola of the church is lit by eight windows.

Frescoes on the walls and vaults of the ambits

Part of the complex was the Museum and gallery of the North Pilsen region. I liked the Gothic altarpieces and Baroque paintings as well as the 19^th paintings of pilgrimage sights. The reconstruction of rooms resembling 19^th century and early 20^th century village life included a classroom, a countryside chapel and a pub.

Museum of the High-Rises, Kladno, ceramic tile on the facade

Gas masks in the nuclear bunker of the Museum of the High-Rises

In Kladno near Prague, I toured the Museum of the High-Rise, which was located in one of the six Rozdělov high-rises designed by Czech functionalist architect Josef Havlíček in the 1950s. He received acclaim during the interwar years as a member of the avantgarde and studied under Cubist architect Josef Gočár. The façade of the 13-floor building was created from ceramic material, and on that particular high-rise were ceramics of a cat and a dog. There was a small museum in one basement floor. We also visited the nuclear bunker, complete with numerous gas masks and many hard benches. The big rooftop terrace was a prominent feature for that time period. In the representative flat for the higher-ups, we saw 1950s furniture and a balcony. The flat measured about 65 meters squared, quite a luxury in that day and age.

Humprecht Chateau

View from Humprecht Chateau

I also visited many chateaus within a two-hour distance of Prague. Seventeenth century Humprecht Chateau in the central Bohemian Paradise region had an elliptical shape. Much of the interior featured hunting themes. I saw paintings of Venice, Biedermeier bookcases in the two libraries of about 4,000 volumes, a black kitchen with an original fireplace and utensils from the 17^th century. The main hall featured four frescoes from the 1930s, showing scenes from the life of the Černín family, the long-time owners of the chateau. Baroque furniture decorated several rooms. The picture gallery includes works from the 17^th century. What I liked best about the chateau were the panoramic vistas from the top floor.

Volman Villa

Also, not far from Prague, the newly reconstructed Volman Villa, a large, geometric functionalist structure built from 1938 to 1939, featured big terraces, a circular driveway, a monumental winding staircase and outer stairs that lead to a bridge heading into the building. It is possible to access the terrace from each spacious room. Volman used exotic materials such as travertine and marble for the construction. The marble bathrooms with beautiful pink and light blue bathtubs were vast. While there are now many trees obstructing the view, at one time it was possible to see the Labe River in the 40-hectare English park.

Grabštejn Castle, Chapel of Saint Barbara

I visited several castles and chateaus in north Bohemia – Grabštejn Castle, Jezeří Chateau and Červeny Hrádek Chateau. I was shocked at the vast improvements made during the reconstruction of Grabštejn and Jezeří as I had last visited the two about 20 years ago. Grabštejn, originally a 13^th century castle, took on the structure of a Renaissance chateau in the 16^th century. The 16^th century Chapel of Saint Barbara featured exquisite vaulting and wall painting that included 13 apostles. One tour featured the 18^th century administrative offices that made up the castle interior during that time period while another showed the rooms of the nobility, including a gigantic wall painting with chateau-like gardens and fountain. I saw furnishings and artifacts from the 16^th to 19^th centuries.

Jezeří Chateau, painting by Carl Robert Croll

While only a few rooms of Jezeří Chateau were opened about 25 years ago, now there are about 10 impressive spaces on the tour. I loved the paintings of Carl Robert Croll, renditions which showed the interior of the chateau during the early 19^th century. I was especially impressed with the room dedicated to Jan Masaryk, the son of the first president of Czechoslovakia and once the Minister of Foreign Affairs. He was thrown out a bathroom window at the Ministry of Foreign Affairs by the Communists after the 1948 coup. The Winter Garden was light and airy, punctuated by much greenery. The lavish Theatre Hall included sculptural and stucco adornment as well as an original fireplace. The paintings throughout were impressive, too.

Červený Hrádek, Knights’ Hall

Červený Hrádek dated back to the early 15^th century and gets it current appearance from the 17^th century. The Knights’ Hall from that era included lavish sculptural decoration with medallions featuring battle scenes and exquisite crystal chandeliers. Other spaces harkened back to the 18^th and 19^th centuries with period furnishings. Seventeenth century sculptor Jan Brokoff created sculptures, fountains and vases that decorated the monumental staircase. The English style park was beautiful, too. In August of 1938 the Sudeten Party leader Konrad Henlein and English Lord Walter Runciman had a meeting there, shortly before the Munich Agreement was signed.

Dobříš Chateau Park

Dobříš Chateau Park

Because the interior had been recently renovated, I returned to Dobříš Chateau not far from Prague. I was disappointed there were not as many rooms decorated with period furniture. Instead, the self-guided tour mostly featured spaces celebrating the Colloredo-Mansfield family’s accomplishments, which were very intriguing and noteworthy, to be sure. Still, I missed the longer, guided tour and former exciting interior décor of the Rococo and Classicist eras. The Writers’ Room remained on display, decorated the way the space would have looked when the chateau belonged to the Writers’ Union from the 1950s to the 1990s. It was possible to enter one side of the spectacular Hall of Mirrors, although it was roped off and walking through the room was not permitted. The fresco-filled hall amazed with 18^th century décor and eight Venetian chandeliers as well as monumental fireplaces.

Illusionary painting on the orangery in Dobříš Chateau Park

The park, measuring nearly two hectares, was the reason to visit the chateau. On that sunny summer day, it was spectacular to stroll through the Rococo style park established in the 1770s. It had five terraces, a fountain with astounding Baroque sculptural grouping and an orangery with illusionary wall painting.

Slatiňany Chateau

Interior of Slatiňany Chateau

I traveled to Slatiňany Chateau for the second time and noted the prominent hunting and horseback riding themes. The Auerspergs held on to the chateau for 200 years and were responsible for the charming interior. I loved the exquisite canopied beds decorated with religious paintings. The tapestries were another delight. In the Big Dining Room I admired a large painting of hunters and their dogs getting ready for the hunt as well as a stunning 18^th century Murano chandelier.

Vienna, Albertina, Monet, Waterlillies, in the permanent collection

I had many exciting adventures traveling in 2024 and had many impactful experiences at art exhibitions in the Czech Republic, Germany and Austria. Every time I go on a trip or to an art show, I come away changed, with a sharper perspective on life and with more enthralling knowledge.

Albertinum, Dresden, Hans Grundig, The Thousand-Year Empire, in the permanent collection

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

Grabštejn Castle Diary

September 28, 2024 by Tracy's Travels

I visited Grabštejn Castle for the third time in 2024. Situated in north Bohemia near the Polish border, Grabštejn has come a long way since my first two visits some 20 years ago, when only a few rooms were open to the public because major reconstruction was taking place. Back then, I had seen Grabštejn Castle as a place with much potential, but I wondered if I would ever see the upper and lower castle with more than several spaces open to the public.

The first thing I noticed was that there was no scaffolding near the entrance to the castle perched on a rocky hill, where it dominated the scenic landscape. I read that there were two tour routes available and many rooms on display.

I recalled the history of Grabštejn, which was originally a 13^th century Gothic castle, first mentioned in writing during 1286. It was transformed into a Renaissance chateau during the 16^th century and still has many Renaissance features. During that Renaissance transformation, the Chapel of Saint Barbara was constructed. It became an architectural gem due to its superb vaulting as well as exquisite wall and ceiling painting. The chapel was consecrated to Saint Barbara, the patron saint of miners, because miners worked on the Grabštejn property. The chapel’s décor included a masterfully crafted statue of that saint.

Things fell apart during the Thirty Year’s War, when the Swedes conquered the castle. After Grabštejn was sold to Jan Václav Gallas in 1704, reconstruction work was carried out. Then the castle was used as an administrative seat instead of a residence. In 1781 a fire destroyed the castle, but Filip Josef Gallas restored Grabštejn’s impressive appearance. The chateau was again used for administrative work.

Elephant foot used as trash can

When Kristián Kryštof Clam-Gallas became owner, he rebuilt the administrative building as a Classicist chateau. His family used Grabštejn as a summer seat. In 1843, lightning hit the castle, causing a large fire. The damage was repaired, though.

Marie Clam-Gallas set up a small family museum in the castle after World War I, and during 1934, Grabštejn was open to the public while the family also used the premises. However, the castle was nationalized in 1945, after World War II. The Clam-Gallas family that had contributed so much to the development of the castle was forced to leave in a cattle wagon.

During 1953, the Czechoslovak army took over the castle, which was already in poor condition. The army stayed there until after the Velvet Revolution, exiting for good in 1990. Vandalized, the castle was in ruins. Major repairs took place until 2010, and reconstruction even continues today. The public has been allowed to visit since 1993. It was possible to preserve a section of the Renaissance sgraffito that decorates Grabštejn’s western façade. The original statue of Saint Barbara was restored. The installation of the interior lighting ended in 2023 while the cobblestones in the main courtyard were repaired during 2024.

Clerk’s office at the castle

The tours show rooms from the 16^th to 19^th century as well as the spaces dedicated to the Clam-Gallas museum. I saw the administrative offices of the 18^th century as well as rooms made for nobility. The clerks’ offices displayed quills, large historical maps, portraits and shelves with document-filled cubby holes. It was intriguing to see rooms used for administrative purposes at a castle. I learned about the clerks’ work during that time period. Usually, I only saw rooms decorated for nobility.

The highlight of the tour was the Renaissance Chapel of Saint Barbara. I admired the superb vaulting and the wall and ceiling paintings, one of which showed a 13^th apostle with no attributes. Whom the image represented was unclear. I noticed a poignant Last Judgment scene on the ceiling as well as an exquisite rendition of the Last Supper. The statue of Saint Barbara was breathtaking in its original form. The Renaissance altar painting showed Jesus squirming on Mary’s lap. I noted the splendid blue drapery of the Virgin Mary and the lush green landscape in the background. The wooden pulpit was truly unique.

In the castle rooms devoted to the nobility, I saw old photographs of the Clam-Gallas family. The photos reminded me that Grabštejn had once been a busy family home, full of vitality. I saw many paintings of nobles on horseback as well as landscapes. A gigantic wall painting was stunning. It showed lush chateau-like gardens with a monumental fountain as nobles strolled by. I noticed that the fountain in the painting dazzled with a gilded statue of Poseidon.

I also admired black-and-white graphic art. A tapestry depicted idyllic scenery. The masterfully carved, wine red canopied bed was striking. I loved the trash can made out of an elephant’s foot and the elegant, gilded grandfather clock.

It was intriguing to see part of a castle as an 18^th century work space for clerks and another section as home for a noble family. The various styles of furnishings from the 16^th century to the 19^th century made Grabštejn’s interiors refreshingly eclectic. The chapel was an architectural and artistic gem in Renaissance style. The detailed painting, the vaulting, the impressive altarpiece and the well-preserved statue of Saint Barbara were only some of the astounding features of this breathtaking space. The decoration throughout was stunning.

I was so surprised that Grabštejn Castle had gone through a major transformation since my first two visits. The exterior was just as imposing, and the interiors were captivating. I also spent some time on the castle grounds, staring at breathtaking views into Poland and Germany.

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

Otto Gutfreund Diary

September 7, 2024 by Tracy's Travels

Anxiety, 1911-12.

Whenever I come across a Cubist sculpture by Otto Gutfreund in a Czech gallery or museum, I take some time to appreciate the personal feelings that come to mind as I study the masterful figures. While I was perusing the impressive collection of Gutfreund’s works in Prague’s Kampa Museum, I was reminded that this was not the only style he employed in his career. As I studied the creations by Gutfreund there, I mused over the legendary sculpture’s career and the tragedy that befell him.

Lovers (Embracing Figures), 1913-14, bronze

Born in Dvůr Králové nad Labem in Bohemia during 1889, Gutfreund studied drawing and porcelain painting in Prague before turning to sculpture. In Paris his mentor was Antoine Bourdelle. Gutfreund was greatly influenced by the works of Auguste Rodin, whom he knew personally. While in Paris, he also became fascinated with Gothic art and nature. His travels then took him to England, Belgium and the Netherlands. He became immersed in the Cubist style after 1910 as he simplified natural forms into geometric shapes and showed objects and figures from multiple perspectives.

Cellist (Cello Player), 1912-13, bronze.

He made a name for himself as a Cubist guru with his first sculpture in this style, “Anxiety,” of 1911-12. Gutfreund joined the Group of Creative Artists around this time. This emotional and expressive work is my favorite as it stresses the sheer angst and fear that can be debilitating and personally destructive. It reminds me of the anxiety shown in works by Egon Schiele and the German Expressionists of the 1920s. I also see similarities to the emotion-immersed sculptures of František Bílek, a Czech Art Nouveau and Symbolist artist.

Cubist bust, 1913-14, bronze

Some of Gutfreund’s most renowned early Cubist works include his renditions of Don Quixote and Hamlet. Then, becoming more and more inspired by Picasso, he moved to Paris, where he met that artist as well as Apollinaire, to name a few.

World War I brought many changes to Gutfreund’s life. He became a soldier for the Foreign Legion in France and took part in the Battle of the Somme. He wound up in prison during 1916 and wasn’t released until three years later.

Viki, 1912-13, bronze

Two months after being freed, he moved back to Prague and was lauded as a sculptor of the social civilism style, which emphasized the everyday and was very realistic, nothing like the expressive Cubist movement in which he had participated before the war.

In the early 1920s, he received some big commissions. At this time, he created the monument to 19^th century writer Božena Němcová in Ratibořice. The sculptural grouping showed off characters in Němcová’s stellar novel, The Grandmother, a 19^th century Czech classic.

Industry, Study (sculpture on the right), 1923.

From 1922 to 1923, Gutfreund decorated the Legiobanka Building in Prague with a relief called “The Legions’ Return,” cooperating with renowned Czech architect Josef Gočár. In 1924 he designed a life-size statue of the first president of Czechoslovakia, Tomáš Garrigue Masaryk in Hradec Králové. I greatly admired likenesses of the first Czechoslovak president. Gutfreund held art shows, adding to his résumé of artistic mastery. During 1926 he became a professor of sculpture at Prague’s College of Decorative Arts, and Americans had the chance to admire his works in a New York City exhibition.

Fighters (A Fight, Wrestlers), 1924, bronze.

Unfortunately, his life was short-lived. On June 2, 1927, he drowned in the Vltava River in Prague. He accomplished so much in such a short time. If he had lived, there is no telling how much he could have influenced the Czechoslovak and world art scene. Gutfreund is buried in Prague.

At the Museum Kampa visitors can see a collection of both his Cubist and realistic sculptures as Otto Gutfreund lives on through his incredible art. It is worth traveling to Ratibořice to see the stunning chateau and park dedicated to Němcová and 19th century country life as well as the impressive statuary grouping by Gutfreund. Admirers of sculpture and architecture are sure to be amazed by Prague’s Legiobanka Building in the center of the city.

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

Statuary grouping from Němcová’s book The Grandmother, by Otto Gutfreund, in Ratibořice

House Museum Poldi Pezzoli Diary

May 1, 2024 by Tracy's Travels

One of Milan’s four house museums, the Poldi Pezzoli was a highlight of my two trips to the city I love so much. The variety of art exhibited made this a top attraction for me. The collections include paintings, sculpture, weapons, tapestries, furniture, glass, ceramics, watches, clocks, goldsmiths’ work and jewelry, for instance. Artists whose works are represented include Andrea Mantegna, Giovanni Bellini, Sandro Botticelli, Michelangelo Buonarroti, Canaletto, Francesco Hayez and Lucas Cranach the Elder.

I favored the medieval paintings, but each space had something extraordinary to offer. The Golden Room with its 15th century collection enamored me as did the elaborate, superb furnishings of the Dante Room. The Black Room had six masterfully crafted mahogany and walnut doors. The Lombard Room dazzled with north Italian Renaissance paintings.

The collections were amassed during the 19^th century by Gian Giacomo Poldi Pezzoli, who had inherited much money. The Austrians exiled Gian Giacomo from Milan for one year after he supported the revolutionaries during a Risorgimento battle in Milan. He spent that year traveling, but then returned to Milan. Sadly, Gian Giacomo’s life was cut short in 1879, when, at the age of 57, he passed away in the palace’s Dante Study. The museum was opened to the public in 1881. During World War Two the palace was severely damaged. For example, the Neo-Gothic armory was destroyed. Many artifacts were lost. The museum underwent much restoration, not opening its doors again until 1951. The new armory opened much later, in 2000.

Numerous artworks enthralled me, but I would like to concentrate on several of the many that were remarkable. Some paintings that caught my undivided attention included Sandra Botticelli’s The Virgin and Child (the Madonna of the Book), dating from 1482-83. Showing the Virgin and Child reading, the painting reminded me of how important reading and literature have been in my life. The scene had a mystical appearance due to the superb lighting. I could understand how the act of reading has a sort of mystical power. The painting also exuded elegance.

Another religious rendition that left me in awe was The Madonna of Humility with Musician Angels by Zanobi Strozzi, hailing from 1448 to 1450. In this painting the Christ Child is seated on the Virgin’s lap as I can almost hear the musicians playing a sorrowful tune. Strozzi masterfully portrayed the texture of the clothing, such as Virgin’s red garment with its green lining and blue mantle. I felt as if I could touch the fabric of the veil on the Virgin’s head as it was also superbly rendered. The background was dominated by a stunning gold material.

My admiration of medieval art in the Poldi Pezzoli continued as I became enthralled with Filippo Lippi’s The Pieta (1440) in which the Virgin and Saint John the Evangelist hold up the limp Christ figure who has a gray complexion reminiscent of death. In the distance I saw a mountainous landscape.

Antonio Vivarini and his brother-in-law Giovanni D’Alemagna captivated me with their work, The Virgin and Child Enthroned with Two Angels. In this painting, perhaps part of a polyptych, the Madonna and Child’s throne is pleasantly situated in a garden, giving off a tranquil vibe. The late Gothic and Renaissance features of the throne, figures and landscape were striking.

A sculpture that particularly caught my attention was labelled The Virgin and Child, a Florentine masterpiece from 1280 with many Byzantine elements. While Jesus’ body parts aren’t all proportional, the two figures are nevertheless masterfully sculpted.

I was also enthusiastic about the tapestries. For instance, I saw the Tapestry with Esther Presented to Ahasuerus, made in Brussels in the late 15^th and early 16^th century. The stunning fabrics included wool, silk, silver and gold. One of the most significant Flemish tapestries in Italy, the masterful work takes its theme from the Old Testament. I noted the characters’ luxurious costumes, especially the king’s extravagant hat. The variety of colors also caught my attention.

I also admired the Canaletto landscapes of Padua and Venice with all the architectural features of the cities. Looking at Canaletto’s works gave me a sense of Italian history as if I could go back in time and look deep into the painting as a witness of the scene portrayed. I fondly recalled the extensive exhibition of Canaletto’s work I had seen in Aux-en-Provence a number of years ago.

The armory, refurbished in 2000, included many 16^th century weapons, such as a Borromeo helmet from the 16^th century. Its exquisite gilded decoration was made up of designs of a unicorn and Saint Justine. The Gonzaga Helmet, also from the 16^th century, was also gilded and showed off adornment of a crescent moon, leaves and flowers. I loved the meticulousness and precision of the designs.

I admired the many stunning pieces of furniture, including the cabinets. One cabinet from the mid-17^th century was made of ebony, bronze, silver and semi-precious stones. The small drawers were exquisitely decorated.

My favorite piece of porcelain was a Meissen called The Tooth-Puller from 1750. The woman looked terrified as the evil man held her jaw in an almost violent manner. The facial expressions of terror and evil were well-crafted. I liked the use of the color purple in the designs: the wig-clad tooth-puller was dressed in purple, and the woman wore a purple jacket. Her white skirt was decorated with a purple floral design. The collection included over 80 European porcelain pieces from the 18^th century.

I also admired the decorations on the watches hailing from the 16^th to 18^th centuries and the various designs of the many clocks and sundials. The jewelry and Murano glassware also captured my undivided attention.

This museum housed such a wide array of stunning artifacts in an intimate setting. I loved the house museums in Milan, and visiting the Poldi Pezzoli was certainly one of my most treasured memories of the Italian city that I hold so dear to my heart.

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

Ivan Meštrović Exhibition Diary

January 5, 2024 by Tracy's Travels

Early in 2023, I went to an exhibition of sculpture by late Croatian sculptor, architect and writer Ivan Meštrović. The art gallery at Prague’s main library hosted the intriguing show. I was familiar with the artist’s name: I had admired his villa, the Ivan Meštrović Gallery, in Split on my last trip to Croatia some years ago. It contained 86 sculptures made with various materials, showing off his dramatic, dynamic and expressive style that was both poetic and poignant. Drawings and reliefs were displayed, too. The bronze statue-dotted garden was delightful. One of my favorite things about traveling was being introduced to the works of various artists. I was enamored with Meštrović’s creations, and his unique, powerful style was forever embedded in my memory.

During Meštrović’s illustrious career that spanned six decades, he had been influenced by a number of styles ranging from Art Nouveau, Symbolism, Impressionism, Art Deco, Neoclassicism and Late Realism. Classicism played a major role in shaping his artistic style, too. Auguste Rodin’s naturalist style, which he had meticulously studied, greatly inspired him. During his extensive travels, Meštrović also saw Michelangelo’s creations, which affected his own work. poignant.

Meštrović’s subjects were diverse as well. He took on religious themes, created portrait busts, made sculptural monuments and delved into studies of figures. A firm believer in promoting Yugoslav national identity, he also presented folk themes and national myths. He fervently advocated for pan-Slavism, and some of his works represented historical events in Slav history.

The sculptor’s career took off when he exhibited his works in Vienna during 1905 as part of the Secession Group. While living in Paris for two years, he received recognition from all over the world and was very prolific. Then he spent four years in Rome, where he was lauded for his design of the Serbian Pavilion at Rome’s1911 International Exhibition. During World War I, he traveled extensively and spoke out against the Habsburg monarchy that controlled his homeland.

He returned to his homeland after the war ended and achieved much success while living in Zagreb. He even created many sculptures for King Alexander I of the Kingdom of Serbs, Croats and Slovenes. He continued to travel, even having an exhibition at the Brooklyn Museum in New York during the 1920s.

During World War II, Meštrović’s life was far from rosy. In 1941, he spent three-and-a-half months in prison. The following year his first wife died, and many of her Jewish relatives perished during the war. Thanks to the Vatican, Meštrović was let out of prison and took off to Venice and then back to Rome. He even met Pope Pius XII.

After World War II, he refused to return to Yugoslavia because the Communists were in control. He wound up in the USA during 1946, when he took a position as a professor at Syracuse University. His works were displayed at the Metropolitan Museum of New York the following year, and he was the first Croatian to do so. He continued to achieve great success and much recognition in the USA and even received the American Academy of Arts and Letters’ Gold Medal in the field of sculpture during1953. American President Dwight D. Eisenhower was so impressed with Meštrović that he gave him US citizenship. Meštrović took a job at the University of Notre Dame in Indiana soon after that. He designed monuments at Notre Dame, and his sculpture is featured in the university’s art museum.

He died in Indiana during 1962 at the age of 79 and was buried in his hometown of Otavice, though the Communists in control of Yugoslavia created many difficulties. His sculptures can be seen all over the world: in Serbia and Romania as well as in the United States, including Louisiana, Indiana, New York and Illinois.

This exhibition focused on Meštrović’s Czechoslovak connection as he had developed an affinity for Czech culture. He befriended the first democratic President of Czechoslovakia, Tomáš Garrigue Masaryk. They both had taken an anti-Habsburg stance during World War I. Also, Meštrović and Masaryk had lived in exile during the first World War. They both admired Slav history. While Meštrović wanted a united Yugoslavia of Croats, Serbs and Slovenes, Masaryk tried to forge a united Czechoslovakia of Czechs and Slovaks. Meštrović sculpted two busts of Masaryk in 1923 as well as busts of his wife Charlotte and his daughter Alice. He created these busts at the Czechoslovak President’s summer residence, Lány Chateau. I recalled spending some sunny afternoons in the park of the chateau in Lány as well as paying my respects at the Masaryk family graves.

Masaryk was by no means the only Czech Meštrović knew. For example, Meštrović was friends with Czech sculptor Bohumil Kafka and even created a portrait bust of Kafka during 1908.

Meštrović’s work was first unveiled in Prague during 1903, when the Habsburgs ruled the Czech lands. His work was included in an exhibition featuring Croatian artists at the Mánes Association in Prague. Mestrovic had another exhibition in Prague during 1933. President Masaryk was so impressed with Meštrović that he presented the Croatian sculptor with the Order of the White Lion award during 1926.

I was enthralled with the Czech connection between Meštrović and artists in Czechoslovakia. Tomáš Garrigue Masaryk was one of my heroes, and I was very interested in life during the First Republic, when Masaryk was president. I felt strong emotions when viewing Meštrović’s powerful works. I also thought back to my introduction to Meštrović’s creations in Split. What a discovery! I was glad to be reacquainted with Meštrović’s sculptures. Seeing his renditions in person was a profound experience.

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

2023 Travel Diary

January 1, 2024 by Tracy's Travels

Amalfi Coast

Amalfi Coast

This past year’s travels included two trips to Italy, one to my beloved Milan and environs and the other to the Amalfi Coast, somewhere I have dreamed of going for many years. I also spent time visiting sights in the Czech Republic, such as Zbiroh and Karlova Koruna chateaus and the towns of Kutná hora and Hradec Králové. I also dined in the traditional Czech pub Hájenka in Kersko. I flew to northern Virginia to see my parents for two weeks in March and had a great time with them as well as with four friends. In Washington, D.C., I visited the National Portrait Gallery and Museum of American Art.

From Petr Brandl Exhibition

I saw many thrilling art exhibitions, including ones focused on the Baroque art of Petr Brandl and the Art Nouveau works of Alphonse Mucha. Karel Teige, Czech avant-garde artist best known for his interwar works, was the focus of an exhibition at the Museum of Czech Literature, which I visited for the first time in 2023.

Campari Tomb at Monumental Cemetery in Milan

My May trip to Italy last year saw me back in Milan, which I had visited for the first time the previous year. I went to several sights I had not seen before. I toured Milan’s Monumental Cemetery to see the architectural gems of tombstones in various styles from the 18^th century to contemporary. A colossal sculptural grouping of Da Vinci’s The Last Supper, made for the Campari family, was my favorite. I also saw a structure resembling the Tower of Babel and another looking like Trajan’s Column. An Egyptian pyramid shape made up another monument. Another artistic delight was Italian artist Lucio Fontana’s design of a modern angel. The sculptural decoration throughout the cemetery was astounding.

At National Museum of Science and Technology Leonardo da Vinci in Milan

I also visited the National Museum of Science and Technology Leonardo da Vinci, where I was enamored by the 170 models of Da Vinci’s drawings of buildings, machines and weaponry. I also loved the hangars featuring planes, ships and trains. A Vega Launcher hailed from 2012. A submarine also stood outside.

Paintings lined the walls at the House Museum of Boschi Da Stefano in Milan.

The House Museum of Boschi Da Stefano, located in a posh apartment outside the city center, featured 300 works of 20^th century art, mostly paintings but also drawings, furniture and sculpture. Most pieces hailed from 1900 to 1960. The walls were covered with art from top to bottom. Some artists represented were Fontana, Giorgio De Chirico, Pablo Picasso and Amadeo Modigliani.

Navigli section of Milan

I also visited the Navigli district of Milan, where two picturesque streets flanked a canal, making for a picturesque setting. The Navigli is dotted with outdoor cafes and stores, including a few intriguing bookshops.

Basilica of Saint Anastasia, Verona

I spent time outside of Milan, too. I traveled to Verona for the second time. I marveled at the Basilica of Saint Anastasia, the largest church in the city as well as the cathedral and three museums – the Castelvecchio Museum, the modern art museum and the House Museum Palace Maffei – my favorite. The Basilica of Saint Anastasia was built in the 13^th century and boasted a Late Gothic façade. The main altar was made from light yellow marble while one chapel housed a famous 15^th century fresco. Red and white marble columns decorated the interior. The Pelligrini Chapel included a fresco from the 14^th and 15^th century as well as intriguing sculpture. A fresco at the left transept had been rendered by a disciple of Giotto. A rudder of a 16^th century ship added to the splendid interior decoration.

Verona, House Museum Palace Maffei

Verona, House Museum Palace Maffei

However, it was the House Museum Palace Maffei that captured my heart. Half of the Palace Maffei was designed as a luxurious home punctuated by art from various eras ranging from the 14^th century to modern day. The other half was a 20^th century art gallery, featuring works by Picasso, Duchamp, De Chirico, Warhol, Ernst, Modigliani, Fontana and others. Paintings, sculpture, drawings, engravings, pottery, bronzes, frescoes and furniture of both Italian and foreign origin dazzled my mind.

In the Castelvecchio Museum, Verona

The Castelvecchio Museum, established in the 14^th century, included 30 halls of Italian and European painting and sculpture from the Romanesque days to the 1700s. Not only did I see many paintings but also ancient weapons, ceramics, gold objects and more. The exterior featured panoramic views of the romantic city.

A romantic lane in Bellagio

My other day trip was to Lake Como, where I visited picturesque Como, Bellagio and Mennagio. Unfortunately, it rained all day, but I still had a great time. I also saw the exterior of some noteworthy villas, such as Richard Branson’s waterfront home, the Villa Carlotta and a villa where some episodes of Succession had been filmed. I saw a hotel where Greta Garbo had acted, too. The Villa Olmo in Como had a neoclassical exterior and stunning lake views. Bellagio featured steep, cobblestoned lanes and the Romanesque Basilica of San Giacomo. Mennagio was home to several intriguing churches and had a picturesque lakefront square.

House Museum Bagatti Valsecchi, Milan

House Museum Poldi Pezzoli, Milan

In Milan I also visited beloved sights that I had first seen the previous year. I returned to the House Museum Bagatti Valsecchi with its Renaissance and Neo-Renaissance art and to the House Museum Poldi Pezzoli with its art of various eras, such as medieval triptychs, ceramics, historical pocket watches and other time pieces.

Gallery of Modern Art, Milan

Gallery of Modern Art, Milan

I visited the second floor of the Gallery of Modern Art with its Grassi and Vismara Collections. The Grassi Collection featured both Italian and foreign works ranging from the 14^th century to contemporary times. Oriental art was displayed, too. The Vismara Collection concentrated on 20^th century masterpieces. On that floor I saw impressive art by Manet, Picasso, Gauguin, Renoir, Van Gogh and Cezanne. Toulouse Lautrec was well-represented, too.

Museum of the Risorgimento, Milan

Brera Art Gallery, Milan, Work of Andrea Mantegna

The Museum of Risorgimento remains another of my favorites with its painting, prints, sculptures and artifacts depicting Italian historical events from 1796 to 1870. The Brera Art Gallery was another highlight, as I gawked at the Italian art from the 13^th to 20^th century as well as at the foreign works in the 38 vast halls. I loved the paintings from the Netherlands, including those by Peter Paul Rubens and Jacob Jordaens. Other Brera-represented artists dear to my heart included Francesco Hayez, Andrea Montegna, Tintoretto and Caravaggio. I even visited an exhibition of ancient manuscripts in the historical Baroque library. Once again, I was amazed by the 16^th century frescoes by Bernardino Luini, his brothers and his son in the Renaissance Church of San Maurizio in downtown Milan.

Sorrento, Nativity Scene, Cathedral of Saints Filippo and Giacomo

During my trip with arsviva travel agency to the Amalfi Coast in June, I fell in love with Sorrento. The streets were picturesque, and the Cathedral of Saints Filippo and Giacomo was Romanesque with a Neo-Gothic façade. Three lunettes showed off beautiful frescoes while a rose window also astounded. Inside, the Latin cross interior boasted three naves with 14 pilasters. The pulpit, hailing from the 16^th century, had Doric columns. Stunning frescoes on the cupola, intarsia adornment and a Baroque ceiling were other remarkable elements. The Chapel of Nativity displayed a Neapolitan Nativity scene from the 17^th century.

Correale Museum, Sorrento

Museum of Intarsia, Sorrento

The Correale Museum served as a provincial art gallery, and I was enthralled by the 17^th and 18^th century Italian landscapes, especially those of Castellammare di Stabia, where we were staying. Greek and Roman fragments, historical furniture, clocks, ceramics and porcelain were also on display. The waterfront boasted spectacular views of the sea, which were very soothing. The highlight of my visit to Sorrento was the Museum of Intarsia, with everything from music stands to large beds showing off intarsia decoration by local artists. Some historical paintings were also on display. Downstairs, I saw the innovative, avantgarde designs of contemporary intarsia artwork.

Pompei

I also visited Pompei for a second time. Even though the day was scorching hot, I enjoyed seeing the small and big theatre, the basilica and three temples, especially the one named after Apollo with its 48 Ionic columns. The amphitheatre with a capacity of 20,000 spectators also caught my undivided attention. The wall paintings and mosaic floors of what had been luxurious homes were sights to behold as well.

Ravello, pulpit in cathedral

We moved to a nice hotel in the picturesque, tranquil town of Maiori, where I could spend time in a café or restaurant overlooking the beach or savor homemade ice cream. The town that had made it on UNESCO’s list during 1997 was a perfect place to relax after a busy day out. Before arriving at our hotel in Maiori, we saw Ravello’s Romanesque Cathedral of Saint Maria Assunta and Saint Panteleone, hailing from the 11^th century. I admired the 12^th century bronze doors and remarkable 13^th century Pulpit of Gospels adorned with mosaics. One 16^th century chapel contained an phial of blood of Saint Panteleone. The views of the sea from the hilly town were spectacular, too. Numerous famous guests, from Richard Wagner to Virginia Woolf and Greta Garbo, had graced the streets of this town.

Ravello Cathedral, bronze doors of central portal

Positano, a UNESCO-listed tourist site since 1997, was a picturesque hillside town, but, unfortunately, during this past June, it was much too crowded to enjoy. I did peek into the church, though. Its main altar showed off a Byzantine icon from the 13^th century. The views of the sea were fabulous.

Cathedral of Saint Andrew, Amalfi

Cathedral of Saint Andrew, Amalfi

Another highlight of my trip was visiting the Cathedral of Saint Andrew in Amalfi, which was founded in the ninth century AD and boasted a 13^th century Arab-Norman exterior with Italian Neo-Gothic elements. The mosaic adornment in the tympanum is stunning. Sixty-two steep steps led to the bronze doors of the central portal that hailed from Constantinople, made in the 11^th century. A cloister included some intriguing fragments of wall paintings while the interior had Baroque features along with Gothic and Renaissance chapels. The Basilica of the Crucifix harkened back to the ninth century and served as a museum of sacral objects, including sculpture and vestments. The crypt, where the relics of Saint Andrew were held, was stunning with much ceiling and wall decoration.

Paper Museum at paper mill, Amalfi

I also was enamored with the still functioning paper mill at the Paper Museum. The Pope used paper made in Amalfi, which held the distinction of being the oldest paper manufacturer in Europe. The machines and the processes of making and drying the paper were enthralling.

Cathedral of Saint Matthew, Salerno

Salerno was a pleasant surprise. The Romanesque Cathedral of Saint Matthew hailed from the 11^th century. The tower was a mixture of Byzantine and Norman styles. The central bronze door was made in Constantinople. Two Byzantine mosaic-decorated pulpits with intricate intarsia amazed in the once Romanesque interior that had been mostly transformed into Baroque style. Mosaics throughout the cathedral were stunning. Frescoes in the treasury chapels were accompanied by a silver statue of Pope Gregory VII. The Late Mannerist ceiling and wall frescoes in the crypt were remarkable, hailing from the middle of the 17^th century. A reliquary of Saint Matthew’s arm was on display, too.

Diocese Museum, Salerno

I also visited the nearby Diocese Museum, which featured paintings, sculpture and objects from the Middle Ages to the 20^th century. I was most drawn to the medieval altarpieces. The provincial picture gallery was small but included an eclectic array of intriguing works from the 15^th to 18^th century.

Cathedral of Saint Barbara, Kutná hora

Cathedral of Saint Barbara, Kutná hora

I took some day trips in the Czech Republic, too. We visited Kutná hora, the home of prosperous silver mines from the 13^th to 15^th century, during one stunning fall day. Saint Barbara’s Cathedral, with its Neo-Gothic exterior of buttresses and gargoyles, astounded me. Inside, I admired exquisite stained glass windows as well as remarkable late Gothic frescoes and a 16^th century stone pulpit. The Gothic royal chapel with Art Nouveau decoration at the Italian Court was another remarkable gem.

Pub in Kersko

I visited Kersko twice this fall. I dreamed of owning a cottage in the tranquil, wooded village. I had lunch at the traditional Czech pub called Hájenka, where several films based on Bohumil Hrabal’s writings had been shot. Hrabal had lived in a cottage nearby for many years, feeding all the feral cats that would wander hungrily toward his home.

Zbiroh Chateau

I also toured the chateaus of Zbiroh and Karlova Koruna. Zbiroh, built before 1230, for decades served as a top-secret facility for the Czechoslovak army. Its representative rooms were open to the public only in 2005. The chateau boasted many Madonna statues and other sculpture of great interest as well as African masks, tapestries, Empire furnishings and copies of Leonardo da Vinci paintings. Alphonse Mucha had used the spectacular main hall as his studio early in the 20^th century. A beautiful skylight, two Czech crystal chandeliers and impressive paintings adorned Mucha’s former studio.

Exterior of Karlova Koruna Chateau

Karlova Koruna Chateau, designed by Santini-Aichel and built during the 18^th century, had a roof shaped as a crown. The chateau consisted of two stories in cylindrical shape with three one-floor wings. The interior featured paintings of horses, including the unique gold-colored horses that the Kinský family had bred as well as pictures of steeplechase races. One painting of a horse race was made of 12 pieces of deerskin.

Beneš Villa

We visited the former villa of Edvard Beneš, president of Czechoslovakia during the interwar years and a prominent member of the Czechoslovak governments-in-exile during the First World War. The stunning Neo-Spanish structure included the room where Beneš died, a dark landscape painting by Antonín Slavíček hanging over his single bed. The furnishings and artworks in the house were intriguing, to say the least. Beneš and his wife Hana were buried in a monumental tomb on the premises as well.

Sucharda’s Second Villa, Prague

In Prague I visited the second villa of sculptor and relief artist Stanislav Sucharda in the Bubeneč district. Jan Kotěra designed the structure with many architecturally intriguing elements. Much of the remarkable interior furnishings had been designed by Kotěra and Sucharda. I saw examples of Sucharda’s artwork as well as pieces by Edvard Munch, Auguste Rodin and many Czech artists.

Gallery of Modern Art, Hradec Králové, Work by Emil Filla

Gallery of Modern Art, Hradec Králové, Věra Jičínská, Brittany

I saw many impressive art exhibitions this year. I traveled to Hradec Králové, where I saw the Gallery of Modern Art with its impressive collection of works by 20^th century artists including Bohumil Kubišta, Emil Filla, Jaroslav Róna, Ladislav Zívr, Quido Kočian and many others. The temporary exhibition of artist and writer Věra Jičínská’s works included paintings of her travels to Brittany and Paris. Her renderings of Paris showed off orange rooftops and the Eiffel Tower. She also created paintings inspired by folk art and dance. Her photography amazed me as well. Influenced by her work as a journalist, she created a painting dedicated to this genre.

Museum of East Bohemia, designed by Jan Kotěra, Hradec Králové

The museum devoted to the history of Hradec Králové was an architectural gem designed by Kotěra. I especially liked the furnishings and designs by Josef Gočár and Kotěra as well as the sculpture by Sucharda. The mock shops from the First Republic (1918-1938) were very intriguing as I could see goods that were sold during that era and feel the atmosphere of those times.

National Technical Museum, Prague

In Prague I saw the National Technical Museum for the first time. The cars, especially the 1935 Tatra 80 vehicle belonging to first Czechoslovak President Tomas G. Masaryk, fascinated me as did the motorcycles, bicycles and planes. The dining car of Habsburg Emperor Franz Joseph I, later used by President Masaryk, was also on display. I also was enamored by the architecture and engineering section and the display of old household items in another section. The TV studio, in use from 1997 to 2011, was another delight. Other areas of interest included astronomy, chemistry, printing, photography, time pieces, metallurgy and mining.

Museum of Czech Literature, book cover by Karel Teige

Another astounding sight in Prague was the newly-located Museum of Czech Literature, which moved to the Petschek Villa in Bubeneč during 2022. The displays cover literary developments from the 19^th century National Revival movement through the 20^th century. I came to appreciate the significance of the literary and art criticism periodical The Critical Monthly from the 1930s and 1940s as well as the symbolist and mystical paintings of Josef Váchal. I was most enamored by the avantgarde book covers designed by Karel Teige in the 1920s and 1930s. His unique typographical work in Vítězslav Nezval’s The Alphabet book was on display, too. A pantheon of great Czech 19^th century artists included objects associated with the writers and their busts.

Karel Teige, Greetings from a Journey

A temporary exhibition focusing on Teige’s youth and early career from 1912 to 1925 was amazing, showing off his artwork, photographs, correspondence and more. I understood very well why this artist, writer, theoretician, critic, translator, book designer, typographer and photographer was considered the leading figure of the Czech avantgarde movement between the wars.

Trade Fair Palace, Prague, Fire by Josef Čapek

At The Trade Fair Palace in Prague, I saw the newly installed End of the Black-and-White Era permanent exhibition of art from 1939 to 2021 in chronological order. More than 300 works, mostly Czech, were displayed with historical context. Josef Čapek’s painting “Fire,” showing a fury of flames behind a woman, presents an anti-Nazi theme. The focus on urban life and factories as well as everyday life was highlighted with the works of Kamil Lhoták. The exhibition featured many works made during the Stalinization period of the 1950s with the style of social realism. Martin Slanský depicted Lenin in a snowy Prague. A model of the design of the monument to Stalin in Prague was on display, too.

Trade Fair Palace, Prague, The Dialogue by Karel Nepráš

The progressive movements of the 1960s made way for the red abstract figures of Karel Nepráš. From the late 1960s to early 1980s art as installation came to the forefront. Action art, performance and body art were often the focus of the times. The late 1980s triggered the impersonal postmodernism movement. After the 1989 Velvet Revolution that toppled the Communist regime in Czechoslovakia, individuality and quests for personal identity came to the fore. Some artists focused on the commercialization of society. This new exhibition was extensive and moving. I felt drawn into each historical period up to the present day. The works displayed well represented the movements expressed. I could see how society and culture kept changing and how art reflected those changes.

Saint Jerome by Petr Brandl

I went to many intriguing temporary exhibitions in Prague, too. I saw 64 religious works, genre paintings and portraits by Czech Baroque artist Petr Brandl. An extensive exhibition of Alphonse Mucha’s versatile works owned by his descendants included some originals never before put on display. Mucha’s ad posters, drawings, paintings, sculptures, photographs and jewelry all captured my undivided attention.

Sculpture by Janouch

I saw sculpture of athletes in motion and busts of illustrious Czechs by Petr Janouch in Prague’s Kooperativa Gallery. An earlier exhibition there featured Czech 19^th and 20^th century paintings involving water – puddles, lakes, waterfalls, streams, rivers and so on. I especially liked one painting by Josef Čapek showing a fisherman on a boat in a river. Landscapes with water themes by Slavíček and Antonín Hudeček also astounded.

Sculpture by Ivan Mestrovic

At the City Library Gallery I saw an exhibition of sculpture by Croatian Ivan Mestrovic (1883-1962). I had come across his art at his villa in Split during a vacation many years ago. Mestrovic, who had befriended first Czechoslovak President Masaryk and Czech sculptor Bohumil Kafka, had delved into a variety of styles, including Art Nouveau, Symbolism, Impressionism, Art Deco, Neoclassicism and late Realism, while preserving a Classical foundation. He focused on numerous themes – religious motifs, portraits and monumental works as well as studies of figures.

Olinka

However, shortly after I returned from the Amalfi Coast, I had to temporarily halt any traveling so I could be at home with Olinka, who was diagnosed with neurological issues that greatly affected her mobility. A MRI showed that she suffered from inflammation of the middle ear. A terrified Olinka spent a total of four nights in the hospital and was on antibiotics for ten weeks. Every two weeks we went to the vet so she could get her antibiotic shot.

Olinka

The first four days at home after three nights in the hospital she could hardly walk and was very disoriented. Those initial few days she stayed mostly in the bedroom closet, only appearing for food and the use of the litter box. She didn’t play with her toys for three weeks. Before her illness, I had been frustrated with Olinka because she always knocked everything off tables and the kitchen counter. Sometimes it felt like a never-ending battle. At the start of her illness, I came to appreciate even her most frustrating quirks. I just wanted her knocking everything off surfaces again, back to her old self. The broken glass on the screen of my mobile phone is proof that she is once again doing just that.

Olinka

I will never forget her first night back from the hospital. She somehow made her way onto the bed and reclined below my pillow. I rested next to her, my arms around her. We stayed like that for an hour or two, just spending time with each other, appreciating that she was alive and at home. I will always remember that feeling of relief and love more profoundly than any experience during my exciting travels.

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

Olinka on Christmas Eve

From Alphonse Mucha exhibition

Municipal House, Prague, Mayor’s Hall, decoration by Alphonse Mucha

I toured the Municipal House in Prague. Once again, I was captivated by its Art Nouveau interior.

Castelvecchio Museum Diary

August 7, 2023 by Tracy's Travels

My first stop in Verona was the Castelvecchio Museum, a sprawling edifice that looks like a medieval fortress. The Castelvecchio hails from 1354 to 1356, when it was built for Cangrande II della Scala as a defensive structure. The Della Scala family lived there for a short time. During Napoleon’s reign, from 1801 to 1806, the building was transformed into barracks, and it served this purpose until 1924. The Castelvecchio was seriously damaged during World War II, during the time when the Germans destroyed all of Verona’s bridges. From 1958 to 1974, architect Carlo Scarpa renovated the Castelvecchio, adding modern elements to the original style that harkens back to the Middle Ages.

The expansive medieval and Renaissance spaces inside house 30 halls of Italian and European painting and sculpture, dating from the Romanesque era to the 1700s. I also saw ancient weapons, ceramics, gold artifacts, bells and miniatures, for instance. I especially liked the walkways outside. They offer panoramic views of romantic Verona.

Artists represented in the collection include Pisanello, Giovanni Bellini, Jacopo Bellini, Carlo Crivelli, Andrea Mantegna, Jacopo Tintoretto and Tiepolo. Pisanello’s “Madonna of the Quail,” Jacobo Bellini’s “Madonna of Humility” and Mantegna’s “Holy Family” are a few of the highlights. The Romanesque sculpture also is impressive.

An intriguing true crime story is connected to the museum. In 2015, three thieves made off with 17 paintings, including masterpieces by Jacopo Bellini, Giovanni Bellini, Andrea Mantegna, Tintoretto, Peter Paul Rubens and Hans de Jode. The following year, the museum got the works of art back from Odessa thanks to Ukrainian border guards. It remains one of the most significant art heists to take place in Italy.

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

The Last Century – Twenty Artists Exhibition Diary

June 1, 2023 by Tracy's Travels

This permanent exhibition at the Gallery of Modern Art in Hradec Králové showcases the works of some of the most influential Czech artists of the 20^th century. I liked the fact that the works were organized by person with commentary about the artists’ backgrounds and styles. I will highlight the creations that most influenced me, although all the painters and sculptors are important.

First, about the building housing the Gallery of Modern Art: Like many edifices in Hradec Králové, the museum is an architectural gem. Facing the town’s main square, the building that was completed in 1912 by Osvald Polívka is impressive with two statues flanking the façade. These sculptures were made by Ladislav Šaloun in 1908 and show allegories of commerce and the harvest. Reliefs of atlases with dogs at their feet also make up the external ornamentation. Polívka’s Art Nouveau designs can be found in Prague’s Municipal House, which he decorated from 1905 to 1912. I tell everyone coming to Prague to tour the Art Nouveau Municipal House, as it is certain to be a highlight of any visit. Šaloun created the statue of Jan Hus that dominates Prague’s Old Town Square.

Several banks were housed in this building before and during the First Republic. For many years under Communism, the Cotton Industry Association and an agricultural company called the place home. Renovations took place in the late 1960s. In 1987, the totalitarian regime transformed the building into the Museum of Revolutionary Traditions. This totalitarian exhibition was closed after the 1989 Velvet Revolution that freed Czechoslovakia from Communist control.

In 1990, the Gallery of Modern Art took up residence there. From 2014 to 2016, both the interior and exterior underwent a vast renovation. A walkway was formed around the central atrium, for example. The interior boasts geometric shapes, floral designs and Art Nouveau-styled adornment of garlands and cherubs. I especially liked the stained glass window decoration.

Here are some of my favorite artists represented in this exhibition:

Fate of the Artist, 1909

Quido Kocián

The expressive sculpture of Quido Kocián was influenced by symbolism and Art Nouveau. I love how he was able to express basic emotions like love and suffering. I went to a superb exhibition of his work about 15 years ago on Husova Street in Prague. In some statues I could see the turmoil and anguish of the persons depicted. Other sculptures triggered feelings of happiness and fulfillment. Kocián had a knack for depicting various psychological states and the depths of the human soul. He studied under legendary artist Josef Václav Myslbek but wound up rebelling against Myslbek’s traditional style, opting for expressiveness instead. Kocián’s works were not fully appreciated in the Czech art history sphere for a long time.

Ladislav Zívr

Surgeon, 1961

A member of the artist Group 42, Zívr focused on everyday life, a feature that is dear to me in all art forms. Inspired by Cubism and the creations of Otto Gutfreund, he made sculptures that have machine-like qualities as well as human traits. He had a penchant for surrealism. After the world wars, Zívr was influenced by nature, and his works portrayed strong symbolism. I liked the way he was able to express a person’s soul through primitive forms.

Jiří Kolář

I had been to a large exhibition of Kolář’s works in Prague’s Kinský Palace some years ago and was very familiar with his collages that included cut out images and words from publications. (See my article about the exhibition in a much earlier post called Jiří Kolář Exhibition Diary) He was a poet and prose writer as well as a fierce critic of Communism. Kolář emigrated to Paris in 1979. He often used phrases from books or created his own poems in his collages. His works lingered on the border of the dream realm and reality, a trait I found very intriguing. A staunch supporter of democracy, Kolář was also one of the first Czechs to sign Charter 77, a document written by dissidents to promote human rights in the normalization era of Communist Czechoslovakia. He played a major role in publishing literature banned by the regime. Kolář was also one of the founders of the influential Group 42.

Jaroslav Róna

Scene by the Fire, 1984

I know Róna’s sculptures well, but I was not familiar with his paintings. Róna designed the abstract Franz Kafka Monument in Prague’s Jewish Quarter, an important sculpture to see in the Jewish Town. He is, indeed, a man of many talents: He has also worked as a painter, illustrator, screenwriter, author of books, actor, singer and educator. His works have a certain dynamic energy. He has been inspired by the Expressionism style of Edvard Munch, Oskar Kokoschka, Max Beckmann, Egon Schiele and Pablo Picasso. A supporter of democracy, he drew brochures for the Velvet Revolution during 1989. Rona is also an avid traveler. His sculptures can be found at Prague Castle as well as on the island of Crete and in many other places.

Josef Váchal

Sacrifice, undated

I liked the mystical quality in Váchal’s works. He was a graphic designer, wood engraver, bookmaker, writer and painter who excelled in all those genres. Váchal was inspired by expressionism. His works featured symbolism, naturalism and Art Nouveau tendencies. A soldier during World War I, he fought in 12 battles. The Communist coup brought hard times for Váchal, who remained isolated after 1948. People did not show much interest in his work then. In the 1960s, he received some acclaim. Much later people recognized that Váchal had created some of the most significant works of Czech graphic design in the 20^th century.

Augusta Nekolová

Four Seasons, 1914

Because Nekolová was female, she had limited educational opportunities during the 19^th and early 20^th century. She did, however, study unofficially under the prominent Czech artist, Jan Preisler. Nekolová worked as a painter, illustrator and graphic artist. She steered away from representations of modern life in her works. She was known for her landscapes and for her emphasis on motherhood. Nekolová strove to promote the national identity of the Slav nation. She developed a strong interest in folk culture. At the end of World War I, Nekolová was hospitalized. She died in 1919 at the age of 29.

Bohumil Kubišta

In the Kitchen, 1908

Café, 1910

A prominent avant-garde artist, Kubišta helped found the Expressionist group the Osma (The Eight). He was a painter, graphic designer and theoretician and is considered to be the founder of Czech modern painting. His works dealt with existential issues. Kubišta’s expressionism was inspired by Munch. He was also influenced by Braque and Picasso’s Cubism. Kubišta analyzed the works of Eugene Delacroix and Vincent Van Gogh. His works also contain elements of Futurism and Fauvism. Kubišta often explored themes dealing with modern technology and nature. While serving in the Austrian army during World War I, he won the distinguished Leopold Order. He died of the Spanish flu at the age of 34 in 1918.

Emil Filla

Dance of Salome, 1911

Hej hore háj, Folk Song, 1948

Along with Kubišta, Filla established the Osma group. He also was known for his writings about art theory. During his early artistic endeavors, he drew inspiration from Edvard Munch’s Expressionism. Later he took up Cubism, influenced by Picasso and Braque. He also was captivated by Baroque still lifes by Dutch painters. El Greco and his symbolism fascinated Filla. In the 1930s, he became enthralled with surrealism. His landscapes demonstrate his knowledge of Chinese calligraphy. My favorite trait in his paintings involves his use of a harmony of colors.

Repression (Anxiety) by Josef Wagner – temporary exhibition

I especially liked the exhibition’s pieces of art influenced by Expressionism and Cubism. The colors and shapes in Kubišta’s and Filla’s works caught my undivided attention. I was introduced to Nekolová’s art and intriguing background at this exhibition. I was fascinated how Quido Kocián captured the emotions of the human soul in his sculptures while Zívr concentrated on simple forms to create profound meaning. Kolář’s collages were a sort of visual poetry. Váchal and Róna’s creations displayed impressive energy.

Moscow Diary, 1989 by Anna Daučíková

It was my first visit to Hradec Králové, except for brief stops at the train station and bus station. The Gallery of Modern Art with its poignant exterior and interior decoration and use of space was one of the most impressive buildings I saw.

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

Landscape, 1962 by Vladimír Boudník

Apollo and Dionysus, 2013 by Anna Hulačová

The gallery also has an impressive collection of contemporary art.

Beach in Crimea (In A Small Bay), 1936 by Věra Jičínská, temporary exhibition

See my post Věra Jičínská Exhibition Diary for more information on this temporary show.

Ladislav Janouch Exhibition Diary

May 7, 2023 by Tracy's Travels

I love visiting the exhibitions at the Kooperativa Gallery in Prague’s Karlín district. Kooperativa, an insurance company with headquarters in Vienna, created spaces for a café and gallery in its Prague office building during 2012, when it moved there. The exhibitions are free and very intriguing.

I went to an exhibition of Ladislav Janouch’s passionate sculptures in April of 2023. Previously, I had been enthralled by an exhibition showcasing Czech Impressionist art. The works by Janouch certainly did not disappoint.

Born during 1944 in Prague, Janouch has created not only expressive sculptures but also drawings and sketches. After graduating from the Academy of Decorative Arts in Prague during 1973, he has devoted much of his time to sculpture, participating in 25 individual exhibitions. He studied in Italy on a scholarship during 1980. The materials he has utilized include wood, stone, marble, bronze and metal.

Janouch’s works focus on the human figure. Janouch’s poignant sculptures include mothers with their children, female nudes, mythological figures, athletes and busts of famous Czech personalities. The figures are in various positions – some seated, some standing, some lying down. He takes on mythological themes with his creations of Prometheus and Icarus, for example. Sports enthusiasts will take special notice of the discus thrower captured perfectly in motion. I could almost see the athlete’s twisting torso moving because the work is so vivid.

Karel Kryl

He has sculpted many busts, including those of professors. His busts reveal not only facial features but also character traits in an emphatic way. Each bust tells a different tale. My favorite, though, is that of the late singer, songwriter and poet Karel Kryl, whose music I listen to often. Kryl’s songs, made up of poignant poetry, protest against the Communist regime.

Kryl emigrated to Germany in September of 1969, during the strict Communist period of Normalization. After the Prague Spring invasion during August of 1968, the Communists had begun their Normalization era of rigid rules. I remember where I was when I heard Kryl unexpectedly had died of a heart attack on March 3,1994 at the age of 49. A waiter in the Na Rybárně Restaurant near Václav Havel’s embankment apartment had told me, and I had shared his sorrow. Kryl had only been in Prague two days before his sudden death; he passed away in Munich. Kryl died shortly after I had discovered his music. I bought all his cassettes and listened to them religiously, scrutinizing the Czech language in poetic form, too. I could feel Kryl’s penchant for protest and devotion to democracy in the face of his bust.

Ladislav Janouch also created busts of his father and grandfather, who had played roles in the Czech literary world. His father, Jaroslav Janouch, had been a writer, editor and translator. His grandfather had made a name for himself as a writer of humorous stories in numerous magazines and six books. (Two were published posthumously.) He had used the pseudonym Jaroslav Choltický. Ladislav’s son is a sculptor, too. In 2020 Ladislav exhibited his works alongside his son’s creations in Kadaň.

I was very glad to familiarize myself with Janouch’s sculptures. I liked the expressiveness in his human forms. His renditions of athletes gave me the most joy. The tender relationship between mother and child was another meaningful feature. I also was especially moved by the busts as each face told a unique story.

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

Sucharda’s Second Villa Diary

April 12, 2023 by Tracy's Travels

The second Sucharda Villa

I had waited months for the tour of Stanislav Sucharda’s second villa. The first time I had had to cancel due to illness. I had seen the exterior of the Sucharda Villa on Slavíčkova Street for the first time on a tour of Bubeneč in Prague’s sixth district. Constructed for sculptor, designer and medallist Stanislav Sucharda from 1904 to 1907 by architect Jan Kotěra, the villa is shaped like a cube and features a mansard roof, polygonal bay windows and half-timbered gables. To say I was impressed is an understatement.

The studio of the Sucharda Villa, now a separate building

A large studio building, influenced by Cubism, stood next to what was Sucharda’s second villa. A knight figure is featured on its steep roof. This had once been Sucharda’s atelier but now was owned by the government for administrative purposes. Sucharda had needed a large studio after he won the competition for the colossal monument to František Palacký, the founder of Czech historiography as well as a prominent politician. Palacký’s nickname was the Father of the Nation.

Jan Kotěra – Photo from Kralovehradecký architektonický manual

Kotěra received accolades not only as an architect but also as a theoretician of architecture, a furniture designer and a painter. He designed all the interior furnishings for this villa. I was familiar with Kotěra’s National Building in Prostějov, Moravia. The two-winged, L-shaped building in Prostějov was clearly divided into sections for a hall, restaurant and cafes. Kotěra had also designed half of the complex for the Law Faculty of what is now Charles University, which I had often passed on foot or on the tram.

Decoration on Sucharda’s first villa

As I have already pointed out, this was Sucharda’s second villa in Bubeneč. The first one is also on Slavíčkova Street. It is a neo-Renaissance structure that he and his family had inhabited for 10 years. An exquisite painting of the bishop Božetěch is featured on the exterior of this villa. Stanislav sold this building to his brother Vojtěch, who had made a name for himself as an artist, too.

Mašek’s Villa on Slavíčková Street

Indeed, Slavíčkova Street is dotted with villas built for artists, including architect Jan Koula and painter Karel Vítězslav Mašek. The prominent villas on this street were built from 1895 to 1907. On Mašek’s villa there is floral decoration with a painting of the Virgin Mary with Child. Both the Koula and Mašek villas feature motifs of white pigeons. The painting on one side of Koula’s villa is outstanding.

Koula’s Villa on Slavíčkova Street

Back to Stanislav Sucharda: Family members have taken up artistic professions for at least 250 years. Stanislav was brought up in Nová Paka, where his father, Antonín Sucharda, had created and restored sculptures. The five children helped out in their father’s workshop and would continue to pursue artistic careers.

Stanislav Sucharda

Stanislav attended the School of Decorative Arts in Prague, where he studied under the greatest Czech sculptor of the 19^th and 20^th century, Josef Václav Myslbek. Every Praguer knows Myslbek’s equestrian statue of Saint Wenceslas at the top of Wenceslas Square. I vividly remember the statue being decorated with votive candles and pictures of Václav Havel shortly after the former president and former dissident died in 2011. The sight had made an unforgettable impression of me and filled me with an immense feeling of loss. Many demonstrations have taken place around the statue, too, even under Communism.

Bust of František Palacký from Maleč Chateau, where Palacky had resided.

Myslbek had been very influenced by the Czech National Revival that promoted Czech culture and the Czech language. I was familiar with Myslbek’s sculptural portrait of František Palacký, who had supported the Czech National Revival, on Palacký’s former home in the street named after him.

Postcard of Sucharda’s Prague and Vltava (1902) printed by Museum of Stanislav Sucharda

It is not surprising that Sucharda’s early creations were greatly influenced by Myslbek’s realism. Sucharda became known for his creations of Czech historical figures and the Slavonic themes in his work, which are two of the reasons his works appeal to me. I love Czech history and studied it in graduate school. After a Prague exhibition of Auguste Rodin’s sculpture in 1902, however, Sucharda’s style became more vibrant and underwent some changes.

Postcard of Sucharda’s Liliana (1909), printed by Museum of Stanislav Sucharda

Sucharda is best known for his sculptural grouping of the monument to Palacký on Palacký Square in Prague’s second district. Many years ago, Palacký’s statue had greeted me every time I took the Metro at the square or rode by on a tram. I had become very interested in Palacký’s work during graduate studies in Czech history, and I found that having a monument dedicated to him near my apartment was refreshing and soothing. The bronze statues of the monument brought to mind the revitalization of Czech history and culture during the Czech National Revival.

Palacký monument on Palacký Square in Prague

The monument also made me think of the Czech nation finally gaining independence after World War I with the creation of Czechoslovakia, even though Palacký had not been alive to see that. I thought of the Czech nation breaking free from the Germanization of the Austro-Hungarian Empire whenever I passed by that sculptural grouping.

A cast of Palacký’s hand by Myslbek

In the same district as his villa, Sucharda had created a monument to composer Karel Bendl. He also built monuments to Czech historical figures Jan Amos Komenský (Comenius in English) and martyr Jan Hus, for instance. Other designs include sculpture for the study of the mayor of Prague from 1907 to 1909.

Sucharda also authored many reliefs, medals and plaques, and his medal designs were highly praised. His medal works even received international recognition. Stanislav became professor of the first Department of Medal Design of the Academy of Fine Arts in Prague after spending two decades as a professor at the School of Decorative Arts. He had also served for seven years as the chairperson of the Mánes Union of Fine Arts, which organized many influential exhibitions in Prague and was an important promoter of modern art.

Sokol membership card from 1912. Photo from aukro.cz

For Sucharda there was more to life than artistry. He was an avid member of the legendary Sokol physical education organization, even working as an instructor there. His entire family was involved with this prominent Czech organization.

Then fate intervened. Stanislav served in the military during World War I and did battle on the eastern front. Wounded in the war, he died after returning to the Czech lands in 1916, a year after being chosen to head the medal design department of the Academy of Fine Arts. I thought it was such a shame that he did not get to see the establishment of independent Czechoslovakia with Tomáš Garrigue Masaryk at the helm.

Sucharda’s Second Villa as seen from the garden

The tour of the two-story villa was very impressive as Sucharda’s granddaughter told the group about her father’s work, the pieces of art in the building and the history of the villa. A professional guide was insightful, too. The interior consisted of an English style hall with stained glass decoration on high windows and sculptures, reliefs and paintings. The British architecture of the hall reminded me a bit of Staircase Hall in the Moravian villa of Slovak architect Dušan Jurkovič, who had been inspired by the English Arts and Crafts movement.

Jurkovič’s Villa in Moravia

We saw works by Edvard Munch and Rodin as well as many Czech creations. Small statues and other artworks decorated the top of an elegant decorative fireplace. Behind plush red seating shaped in a semi-circle was a beautiful stained glass window. I especially liked a large relief by Sucharda in the entrance hall and a life-size statue.

In the narrow hallway there was a fountain with sculptural decoration that employed religious motifs. We also saw the dining room with its paintings, statues, busts and ceramics. Works by Stanislav’s daughter were very impressive. The woodcarving of Kotěra furnishings was masterful. A small conservatory was adjoined to the dining room. Intriguing artifacts decorated the piano, and outstanding paintings decorated the walls. I especially liked a rendition of the Roman Forum by Cyril Bouda. It brought to mind my passion for Italy and the time I had showed my parents the Roman Forum

The garden had an intimate feel. I could imagine sitting there, reading a good book and relaxing on a sunny day.

The Muller Villa in Prague

Visiting villas in Prague was one of my favorite pastimes. I recalled touring the František Bílek Villa, the Muller Villa, the Winternitz Villa and the Rothmayer Villa in the capital city. I had also toured several intriguing villas in Brno and the Bauer Villa in central Bohemia. I would definitely recommend touring these villas. I was glad I was able to get to know Stanislav Sucharda better via his villa and the art within it. I developed a much stronger appreciation of Sucharda’s contribution to modern art. The tour was even more impressive than I had imagined it would be.

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

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Tracy's Travels

My travels throughout the Czech Republic and beyond

Tag Archives: Sculpture

2024 Travel Diary

Grabštejn Castle Diary

Otto Gutfreund Diary

House Museum Poldi Pezzoli Diary

Ivan Meštrović Exhibition Diary

Castelvecchio Museum Diary

The Last Century – Twenty Artists Exhibition Diary

Ladislav Janouch Exhibition Diary

Sucharda’s Second Villa Diary