Tag Archives: Sculpture

The Last Century – Twenty Artists Exhibition Diary

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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 20th 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 20th century.

Augusta Nekolová

Four Seasons, 1914

Because Nekolová was female, she had limited educational opportunities during the 19th and early 20th 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.

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Ladislav Janouch Exhibition Diary

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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

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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 19th and 20th 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. 

Museum of the Risorgimento in Milan Diary

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Museum of the Risorgimento in Milan Diary 

After visiting the Brera Art Gallery in Milan, I walked to the nearby Museo del Risorgimento, which featured 14 rooms of paintings, prints, sculptures and artifacts depicting Italian historical events from 1796 to 1870 as well as arms. It traces the periods from the call for Italian independence to Italian unification. I learned about Napoleon’s reign in Italy as well as the Austrian monarchy’s control. I noticed how prominent Milan’s role had been during the Five Days of Milan, the nickname of the 1848 uprising against the Austrians.

I saw paintings depicting Italian King Victor Emmanuel II, who took the throne in 1861 and reigned until his death in 1878. Two of the paintings were created by Gerolamo Induno. Nicknamed the Father of the Fatherland, Victor Emmanuel II had the distinction of being the first king of a unified Italy since the sixth century. He was born the eldest son of Habsburg Empress Maria Theresa of Austria and made a name for himself in the First Italian War of Independence during 1848-49 before being crowned king.

I spent a lot of time staring at the photos of soldiers in the Album of the Thousands, the volunteers in the Expedition of the Thousand, a campaign that took place in 1860. The group of volunteers armed only with out-of-date muskets defeated the more powerful navy of the Kingdom of the Two Sicilies. Portraits of the 1,089 soldiers in business card format made up this album. I saw the volunteers as individuals rather than as a group of soldiers who conquered Bourbon rule in south Italy. Looking at their portraits, I felt as if I could see the personalities of the men.

Giuseppe Garibaldi, one of the most prominent generals in modern history, guided the volunteers in the Expedition of the Thousand. Their uniforms were made up of red shirts and grey pants. In the exposition I saw the actual poncho and red shirt donned by Garibaldi, who also had military successes in South Africa and elsewhere in Europe.

I loved the paintings and sculptures most of all. These collections were especially noteworthy. The collection of paintings depicting the Imperial period from 1804 to 1814 was perhaps the most poignant of all eras represented by this genre. Francesco Hayez, whose works I had seen in the Brera, had depicted Emperor Ferdinand I of Austria in a moving portrait. Also, powerful canvases of the Five Days of Milan had been rendered by Carlo Canelli, Carlo Bossoli and Pietro Bouvier, for example. Gerolamo Induno and Domenico Induno contributed to the paintings depicting the Second War of Independence. The original Italian flag that flew over the Duomo in Milan on March 20, 1848 was another highlight. The cloak and regal insignia from Napoleon’s coronation as King of Italy were also enthralling.

The 18th century Palazzo Moriggio that houses the museum had an intriguing history as well. The museum had been situated there since 1951. Under Napoleon’s reign the Ministry of Foreign Affairs and then the Ministry of Defense had been located in the palace.

This museum really opened my eyes to many events in Italian history. I had known only very basic information about this museum before my visit. It wasn’t on my list of most important places to see. I learned so much about the time periods in which the Risorgimento took place. I had never been a big fan of battle scenes, but I was struck by the details and by the historical significance of these paintings. While the museum is relatively small, it allows visitors to develop much knowledge about poignant eras in Italian history. In this museum I could actually feel the history come to life. Each artifact tells a story.

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

Mucha: The Family Collection Exhibition Diary

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I have been a fan of Alphonse Mucha’s Art Nouveau works ever since I came to Prague in the 1990s. While he is best known for his exhilarating posters of actress Sarah Bernhardt, Mucha was a very versatile artist – as is evidenced in this comprehensive exhibition of creations owned by his descendants. The first extensive showing of his works in 30 years is housed at Prague’s Waldstein Palace. The exhibition highlights not only the advertising posters but also his drawings, paintings, sculptures, photos and jewelry, for instance. The family displays some originals to the public for the first time.  

Family portraits evoking Mucha’s childhood add an intimate feel to the exhibition. Born in Ivančice, Moravia, Mucha called home a building that also included the town jail. The Czech lands were under Austrian rule when Mucha grew up. They were part of the Habsburg Empire in which German was the official language. Yet, during that era, the Czech National Revival took place, when Czech nationalists promoted Czech culture and the Czech language.

At the end of 1894, Mucha became a star overnight when he designed a poster for Bernhardt’s production of Gismonda. The following year he created posters that decorated calendars, postcards and menus as well as theatre programs. His work would find enthusiastic audiences in Vienna, Prague, Budapest, Munich, London, New York and other cities during subsequent years.

I loved how, in his advertising posters, Mucha utilized folk features not only found in Czech art but also in Byzantine, Islamic, Japanese, Gothic, Judaic, Celtic and Rococo works. Much of this genre focuses on beautiful, young women with an optimistic and cheerful flair. They are wearing flowing robes in pastel colors. I loved the touches of floral and plant ornamentation plus arabesques and naturalistic elements, too.

The exhibition boasted family portraits and photos, such as those of his friends Paul Gaugin and Auguste Rodin. Gaugin even was Mucha’s housemate for a while. During the Paris Exposition Universalle of 1900, Mucha represented Austria-Hungary as the show focused on the accomplishments of the past century. I had not known that in 1899 Mucha had designed a jewelry collection that was featured at this major show. One of the jewelry pieces on display at the exhibition features a snake-shaped broach that Bernhardt wore during her portrayal as Medusa. I also was captivated by Mucha’s decorations for a German theatre in the USA. He would wind up making three trips to the United States, hailed by The New York Daily News as “the world’s greatest decorative artist.”

Works in the exhibition illustrated how mysticism had influenced him. His philosophy is also apparent in his creations. For example, he believed in beauty, truth and love to guide him on the spiritual path. For a monument he created a triptych called The Age of Reason, the Age of Wisdom and the Age of Love, fusing these three characteristics into one piece of art. Unfortunately, Mucha didn’t get the chance to finish it.

Perhaps what always captivates me the most about Mucha’s art is his emphasis on Slav identity. Indeed, his phenomenal Slav Epic paintings feature the heroic tales of the Slavs in 20 historical, symbolic canvases. Several reproductions of these works at the exhibition reinforced Mucha’s identity as a Czech and Slav patriot.

I saw panels devoted to Mucha’s decorations in the Municipal House, for which he designed numerous pieces – three wall panels, a ceiling painting depicting prominent Czech personalities, eight pendentives and furnishings. I remember seeing these for myself on tours of the Art Nouveau Municipal House, something I recommend to every Prague visitor. It is notable that, while Mucha’s works often were rooted in Slav identity in the past, he also looked to the future for a prosperous Czech nation.

I was enamored by the reproductions of his stained-glass window designs. The originals decorate the interior of Saint Vitus’ Cathedral at Prague Castle. In 1931 he portrayed Saint Wenceslas, the nation’s patron saint, as a child with his grandmother Saint Ludmila in a central panel along with other panels featuring the lives and work of Saints Cyril and Methodius. Seeing examples of his colorful and vibrant stained glass renditions close-up was for me one of the highlights of this exhibition.

Mucha’s life was cut short by the arrival of the Nazis in Prague, where they set up the Protectorate of Bohemia and Moravia during March of 1939. The 79-year-old Mucha, riddled with health problems, was targeted by the Gestapo. Mucha was a Freemason, Judeophile and a promoter of democratic Czechoslovakia. He was one of the first to be interrogated by the Nazis. Mucha was stricken with pneumonia due to the strain from grueling interrogations and died in Prague 10 days short of his 79th birthday on July 14th, 1939. He is now buried in Prague’s Vyšehrad Cemetery along with other prominent Czechs.

This exhibition takes museumgoers on a unique and unforgettable journey from his childhood roots in Moravia to his time as an outsider in Paris to his experiences in the democratic Czechoslovakia until his untimely death. It stresses his identity as a Moravian, as a Czech, as a Slav and as a European. It shows his accomplishments in the art scene by displaying an eclectic collection of his creations that profoundly punctuated the artistic world.

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

Museum of Ancient Art and Arms at Sforza Castle Diary

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The Sforza Castle in Milan was built for Galeazzo II Visconti in the second half of the 14th century. It was destroyed in the 15th century, but Francesco Sforza rebuilt it. Then the Sforza family used it as a residence. The end of the 1400s was a time of splendor. During the 15th century, Leonardo da Vinci and Bramante created frescoes in the castle. The castle became one of the largest in Europe in the 16th century.

Later, the castle was changed into a citadel. The ducal apartments were used as barracks and stables under Spanish, Austrian, French and again Austrian rule. An armory was for a time also on the premises. At the end of the 1800s, the castle became the property of the city of Milan. When Italy was unified, the castle was in a very dilapidated state, but the complex to be reconstructed and made into a museum. The castle took on the appearance it had when it had been under Sforza control. Though the central tower is not original, it is made to look like it had when built in 1521.

During World War II, the complex suffered much damage but was reconstructed. Now the castle includes museums and cultural institutes.

The collection of the Museum of Ancient Art and Arms features sculpture from the fifth to the 16th century, some from Lombardy and others from Tuscany. Some rooms are decorated with stunning frescoes. An armory containing European weapons from the end of the 14th to the 19th century and an impressive room of tapestries also make up the exhibition. Sixteenth century Flemish tapestries intrigued me. Saint Ambrose dominates another tapestry. Two medieval portals and tombstones are also on display.

Visitors walk through the ducal apartments decorated by Galeazzo Maria Sforza. I was especially impressed with the ducal chapel. Leonardo da Vinci designed and frescoed the Sala delle Asse (Room of Wooden Boards), which was being restored when I was there. I read that the walls and vaulted ceiling of this room are painted with trompe l‘oeil. The vault shows off branches leaves and berries that give the illusion that the space is outside instead of in a castle. In other rooms the Spanish domination is highlighted with sculpture and the remarkable funerary monument of Gaston de Foix, created from 1517 to 1522.

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

Museo del Duomo in Milan Diary

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When I visited the Cathedral Museum in Milan, I didn’t expect it to be so big. The museum measured 2,000 meters square, and there were 26 rooms. Set up in chronological order, the artifacts included stained glass windows, paintings, tapestries, architectural models, sculpture, bronze doors, goldsmithing artifacts and more. The museum, located on the ground floor of the Palazzo Reale, allowed me to see the various phases of construction from its foundation in 1386 to the 20th century. The museum dates back to 1953. Ten more rooms were added in 1960, and it was reopened in 1973. It underwent major renovation during this century, too.

Placed in the museum during 2013 after renovation was completed, the Treasures of the Cathedral are on display in two rooms and feature liturgical objects from the 5th to the 17th century. I saw the Cross of Chiaravalle, a masterpiece of Romanesque goldsmithing art. The Cross of San Carlo was another goldsmithing object that amazed. It was made in Mannerist style during the 1500s. The cross is even used in cathedral ceremonies new archbishops are inaugurated. La Pace di Pio V, dated around 1565, utilized lapis lazuli decoration on columns and a sarcophagus. The cross was studded with diamonds. Gold decoration added to its beauty. Il Calice delle Arti Liberali is a chalice placed on a copper gilded frame. Made in Milan during the 1500s, the chalice has enamel decoration.

Perhaps my favorite part of the museum was the section with the stained-glass windows. I was enthusiastic about having the opportunity to see stained-glass windows up close. These panels depicting scenes from the Old Testament had been created by artists from Lombardy, France, Germany and the Netherlands. I loved stained-glass windows, and they were my favorite part of the cathedral’s interior. I spent so much time staring at those windows when I was inside the cathedral.

The sculpture was another delight. The marble Late Gothic figures hailed from the first 50 years of the cathedral’s construction. There were also statues made of terracotta from the Mannerist and Baroque eras. A few of the noteworthy sculptures featured Saint Agnes, Saint George and Galeazzo Maria Sforza. The Sforza noble family had had a vast influence on the city’s development and politics. I also was amazed by the gargoyles. I was thrilled that I had the chance to see them close up.

A model of the entire cathedral comprised three centuries of work and was made at a scale of 1:20. Another model that caught my attention was an early 16th century wooden rendition of the cathedral, made by Bernardino Zenale from Treviglio. This model provided insights into the structural development of the various sections of the cathedral, such as the apse, transept and tiberium.

I found the objects in the museum stunning. I was flabbergasted by their beauty. I had expected a small museum of liturgical items, not such an amazing array of artifacts. I had learned how the cathedral had been constructed in various eras and about the main players in the history of the structure.

Leaving the Museo del Duomo, I was very satisfied with my visit and ready for the temporary Titian exhibition in the Palazzo Reale.

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

Galleria d’Arte Moderna Milano Diary

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Walking through the charming courtyard of the gallery, I noticed that the villa was in Neoclassical style as was the La Scala Theatre, which I had toured a few days earlier. On the other side of the main street was a vast park. In part of the courtyard was a posh, crowded restaurant. The edifice had two facades, one visible to visitors. Statues and reliefs with a mythological theme decorated the facades. The second façade looked out upon Milan’s first English landscape garden.

Founded in 1903, the modern art gallery was initially housed in Milan’s Castle. In 1921 it moved to its current location, the Villa Reale. Built by Leopold Pollack from 1790 to 1796, the building was originally named Villa Belgiojoso and was used as a private residence. Later, when Napoleon’s adopted son lived there, many famous people gathered at the villa, which was notable for its lavish ornamentation. On August 6, 1849, the Pace di Milano treaty was signed there, making Milan part of Austria.

Austrian Field Marshall Joseph Radetzky von Radez, a Czech noble and Chief of General Staff for the Habsburgs during the Napoleonic Wars, even called the villa home for one year in the 1850s. At one point Radetzky was even knighted for his bravery. Johann Straus composed the Radetzky March after him. His troops appreciated his valor and fairness. He died in Milan during 1858.

When the various states merged into the Kingdom of Italy, the building was no longer used. It was nationalized in 1920 and was refurbished so the Modern Art Gallery could open there the following year. Still, the gallery had to wait until 2006 before they could use the entire building for their exhibits. Before that the gallery had shared the building with other institutions.

The permanent collection started on the first floor. The first six spaces covered Neoclassical art. The works of Antonio Canova were represented there. Two rooms were dedicated to portraiture, including the renditions of Francesco Hayez. His Portrait of Matilde Juva Brunea from 1851 was one of the gallery’s masterpieces. A luxurious ballroom and the Parnaso Room with its astounding 1811 fresco had come into being during Napoleon’s era. After gazing at these two luxurious spaces, I continued to peruse artwork from the Romantic, Divisionist and Symbolist periods. There was also a temporary exhibition of Italian designer Joe Columbo’s 20th century furnishings on that floor.

From the Joe Columbo exhibition
From the Joe Columbo exhibition

The second floor housed the Grassi Collection and Vismara Collection. The Grassi Collection covered both Italian and foreign works ranging from the 14th to 20th centuries. Eduard Manet, Paul Cezanne and Vincent Van Gogh were all represented. Oriental art was on display, too. The Vismara Collection showcased 40 works of art from the 20th century. The paintings and sculptures included creations by  Picasso, Matisse and Renoir.

Some significant paintings on display included Paul Gauguin’s Donne di Tahiti from 1891; Vincent Van Gogh’s Breton Women and Children from 1888; Giuseppe De Nittis’ Breakfast in Posillipo from 1878; Eduard Manet’s Portrait of M. Arnaud from 1875 and Umberto Boccioni’s The Mother from 1907. The sculpture was just as impressive as the paintings. A bust of a madwoman caught my attention. It showed not only unique facial features but also delved into the psychological being of the woman. Via the sculpture, it was possible to see into the woman’s soul.  Other busts were just as revealing. A small statue by Rodin was exquisite, too. A bust of Beethoven was very expressive and innovative.

One bust that captured my attention.

I was thrilled to see so many amazing paintings and sculptures and looked forward to my next stop at another nearby villa, which was devoted to modern art of the 1930s.

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

A bust of Beethoven

Gallerie d’Italia of Milan Diary

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These three palaces, located on the Piazza della Scala near the Scala Theatre, displayed extraordinary artworks of the 19th and 20th century. In the 19th century sections, I was amazed at the vedutas of Milan Cathedral, the system of canals in Milan called Navigli and the Alpine scenes. I found myself thinking of vedutas I had seen in the Czech Republic, such as the masterful ones at Mělník Chateau near Prague.  

The landscapes from the second half of the 19th century gave me a tranquil feeling. I especially liked the landscape with a magnificent yet mysterious castle perched in the mountains. The painting of the Colosseum reminded me of showing that sight to my parents some years ago, watching them gaze with awe and amazement at the historic monument. That was one of the happiest moments of my life.

The paintings of Milan’s Duomo allowed me to appreciate the exterior and interior of that sight to an even greater extent. I recalled walking down from the roof to the ground floor of the cathedral. I had been worried I would fall because I had nursed a bad leg for nine months not long before my trip.

The bas reliefs of Antonio Canova were delights as well. They were inspired by the works of Homer, Virgil and Plato. I remembered seeing Canova’s works at the Borghese Gallery in Rome.

The Lombard painting of the 19th century showed Milan as a vibrant artistic hub and often told pictorial tales of a rapidly changing society. I saw works by Francesco Hayez and other Romanticist artists. Giovanni Migliara focused on ancient monuments.

Works representing Symbolism, Pointillism and Futurism also made up highlights of this museum’s collections. The historical paintings of fight for the unification of Italy profoundly expressed this political and social movement called the Risorgimento, which led to the formation of the Kingdom of Italy. Genre painting showcased people’s daily lives.

The Divisionism of Neo-Impressionist painting that separates colors into dots played a large role, too. The works falling into the Futurism category centered on technology and modernity, for instance. Often cars, airplanes and the industrial city figured in works of this nature.

A special exhibition displayed the Torlonia Marbles, a very significant private collection of Roman statuary with many busts. I loved how the busts, though dating back many centuries, brought out the character of the person sculpted.

The 20th century was highlighted as well. Five halls housed artwork from the 1950s to 1980s. Abstract art between the 1940s and 1950s stood out, too. The Sixties were emphasized with a focus on signs, words and images. Kinetic art also was displayed.

While I was most impressed by the landscapes and pictures of Milan’s cathedral, I gazed at each and every piece of art with awe and wonderment. This was truly a great museum.

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

Bílek Villa Diary

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This museum of Art Nouveau artist František Bílek’s works is one of the most underrated art collections in Prague. The many times I have been there it has not been crowded, making it easier to appreciate fully the emotions triggered by Bílek’s sculptures, furniture, drawings, sketches and book illustrations. The symbolism is religious and mystical and seeps into my soul as I am overcome by emotions. Art Nouveau is a style I cherish, too. I am especially drawn to his dynamic wooden sculptures.

František Bílek, born in 1862, initially wanted to become a painter but switched to sculpture because he was colorblind. He would wind up making a name for himself not only for his evocative sculptures but also for his prints, architectural designs, ceramics and books, for instance. A man of many talents, he was very religious, and the works of the Catholic Modernists greatly influenced his works. He later worshipped at a Czechoslovak Hussite Church, inspired by the teachings of Czech martyr Jan Hus who was burned at the stake for heresy in 1415.

Bílek Villa in Chýnov
Bílek Villa in Chýnov
Bílek grave in Chýnov

I had also visited Bílek’s hometown of Chýnov in south Bohemia, where his villa there housed more of his fascinating creations. It was easy to find his grave in the cemetery there – a huge sculpture marks the spot. Bílek passed away during the Nazi Occupation, in 1941.

Exterior of villa in Prague

While I waited for the museum to open, I perused the exterior of the building, which was just as intriguing as the inside. It has huge columns that resemble an Egyptian temple as Bílek brings religion to the fore. The irregular shape of the former home also caught my attention. I liked the inscriptions on the side of the building, too. Indeed, Bílek incorporated inscriptions into some of his works. There were several sculptures in the quaint garden.

Jan Amos Comenius from statuary grouping in garden

Dominating the garden was a sculpture that featured Czech national figure Jan Amos Comenius, who contributed greatly to the education system in the Czech lands and had to leave his native land because of threats of persecution on more than one occasion. The sculptural grouping shows the 17th century religious and educational reformer forced to escape his native land. He lived in many countries, including Poland, Transylvania, the Netherlands, Sweden and England. I recalled the play version of his novel The Labyrinth of the World and Paradise of the Heart at Goose on a String Theatre in Brno many years ago. I remember the stunning performance of Petr Oslzlý as the protagonist.

I noticed the elegant Art Nouveau doors as I waited for the museum to open. Soon, it was time. I entered the first room, my personal favorite. It contained numerous sculptures made of wood. I was always overcome by emotion as I perused all the sculptures.

Astonishment
Astonishment

I was most impressed with “Astonishment,” which showed an amazed figure looking up to Heaven. I see the figure as being enthralled by what life has to offer, and it brings me back to my first year in Prague, the last quarter of 1991 and 1992, when my hero, the former dissident and playwright Václav Havel, was president of Czechoslovakia. I was learning Czech, which I consider to be a magical language. I also frequented the Czech theatre where Havel had once been resident dramaturg and playwright as I tried to improve my listening comprehension. A theatre major, I was enthralled by the plays, especially by Havel’s The Garden Party. I met Havel at the premiere of one of his plays, which was a big thrill. I had read the English translations of his books in the USA and had done much research on the Velvet Revolution during university. At that time, I yearned to read his books in Czech.

Look at the details of Christ’s disheveled hair.

Everything was new, and the world seemed full of possibilities. To me Havel symbolized hope. I felt this sense of hope in my personal life as I made new friends and started writing for a weekly English language newspaper, interviewing former dissidents and other fascinating Czech personalities.

Grief
Grief

Another sculpture that deeply affected me was called “Grief.” I could feel the sorrow seep through my body as I stared at the female figure clearly devastated by death. It brought to mind moments of sadness when I had felt a deep pit in my stomach. Gazing at the statue, I let myself experience the sadness, not trying to stave off the painful emotions.

A charcoal drawing that spoke to me was “The Blind,” portraying a blind man leading a blind woman, perhaps on a path to knowledge. (I apologize for not having a picture of this one. The reflection of light on the glass didn’t allow for a decent photo.) The blind man is clearly upset that he cannot see as evidenced by his hand gesture. While they cannot see, they have an inner vision that is necessary to develop as one goes through life, experiencing trials and tribulations. It made me think of the many times I had made mistakes and how I learned from them. I also had learned not to be niave and not to trust everyone or take everyone at their word.

I also marveled at Bílek’s massive furniture, created with light and dark wood. Much of the furniture sported religious motifs as a desk even resembled an altar. I also saw family portraits that reminded me that the villa had once been a home. It gave the place an intimate quality. I wondered what kind of conversations had taken place in that villa when the Bílek family resided there. What had they worried about? What had made them happy?

After a while, I left, feeling so much stronger mentally. This was a museum I could visit often and still be greatly affected by the works of art.

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