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557:, 1974). The canvases are dominated by muted colour tones, which are partly determined by the technique used. The subjects of the paintings are meditative - the central object is usually a female body, sometimes curled up or placed in a wrapper symbolizing an egg or womb. The rest of the surface is filled with imprints of objects that create regular grids or impersonal technical space surrounding the figure. It is also clear from the artist's texts that the change is probably related to his renewed interest in drawing at the time.
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Němec, Zbyšek Sion, Otakar Slavík, Antonín Tomalík, graphic artist Naděžda Plíšková, poet and conceptualist Eugen
Brikcius, art theoreticians Věra Jirousová and Ivan Martin Jirous, experimental poets Josef Procházka and Vladimír Burda. For the members of Křižovnická school and their friends, collective action was a reliable form of defence. The works created at the time of the greatest flowering of this association, as if on the outskirts of general interest, are today among the values of Czech modern art.
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192:. After the war, he completed one year at the Real Gymnasium in Prague and after the reorganisation of education he studied at the Higher School of Graphic Arts. After the division of the school, he completed his secondary studies at the Higher School of Housing Industry in the department of applied painting. In 1955 he was admitted to the
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was an informal pub association of young artists, musicians and writers that met in the now defunct restaurant U Křižovníků in the Prague Old Town. Among its members were: the directors - draughtsman and author of conceptual actions Jan Steklík and sculptor Karel Nepraš, painters Zdeněk Beran, Rudolf
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In the mid-1960s Rudolf Nemec began experimenting with imprints of his own figure and later of models in enamel paint on canvas. Although he used similar formal devices to Klein and
Recalcati, this is not Klein's "painting with a live brush", as the result shows fundamental differences in meaning and
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Rudolf Němec's literary work was created gradually from the 1970s onwards and includes prose poems and verses, fragments of memories, situational commentaries on current events, language puns and concise summaries of life experience in the form of maxims. A selection of the texts and an overview of
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The works on paper build on earlier figurative compositions from the 1960s, were created using impressions of objects and rasters. The artist used this technique with various variations (stamps, letters, reliefs, technical rasters) until the 1980s. The décalques on paper were created using the same
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From the 1970s Rudolf Němec devoted himself to the method of décalques, combined with stencil drawing and painting. The resulting image is created as a negative drawing on a ground covered with ink and oil paint. The drawing is marked by imprinting stencils and tracing them over an attached cotton
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Němec's imprints are not flat, but achieve spatial depth and a smooth transition of colour intensity from the lighter underpainting to the rich shades of blue and purple on the rest of the surface. Additional interventions were limited to the completion of the coloured background with brushwork,
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From the second half of the 1970s, Rudolf Němec began to use raster and cut-out stencils of figures and objects, over which he sprayed paint onto the canvas, first with an ordinary marker and from the late 1980s also using a spray gun. This allowed him to achieve more subtle colour transitions.
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Rudolf Němec was an active participant in them as a scriptwriter and cameraman. The aim of Němec's actions is usually to record the changing reality, first by drawing, later with a film camera. The boundary of light and shadow plays an important role in them, as a recurring reminiscence of
361:, which was published in 1964. In his free work he tended towards abstraction. His work from the early 1960s survives only in fragments. Most of his works from the 1960s were lost from his studio in Žižkov during Němec's stay in France and during his hospitalizations, or were destroyed.
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428:. The imprint here is a record of a mental state of heightened sensibility through psychophysical action. The dark colour palette with a predominance of blue and the inorganic geometric shapes in the painting, replacing the head of the figure, correspond with this. ("
381:, is cited by Němec as fundamental and groundbreaking for his later work. Jindrová, unlike other authors, correctly analyses the cumulative influences of the exhibited works on Němec's later work and, in addition to the traditionally cited method of anthropometry by
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Rasters have significance in a painting not only as an artistic element, but also as a reference to the civilisational environment in which the figures are set. The bars may also refer prosaically to the prison where the author addressed his poem dedicated to
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The change in technique is also related to the colour scheme. Němec uses acrylic oil and enamel in bright tones for underpainting and in other sprayed layers. Templates of female figures cut from enlarged photographs,
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Photography in Němec's work is a rather marginal affair and an alternative method to painterly prints. Photographs and rayograms have survived from the mid-1970s, showing the artist's face wrapped in a film strip
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By shifting the template while spraying paint and shading the outline, he creates the appearance of movement and achieves greater optical depth. In some paintings, the principle of positive-negative is used
1107:: Mons, Hollywood, Cincinnati, New York, Indianapolis, Rapids, Albuquerque, Savannah, Chicago, Columbia, Nord Dartmouth, Saint Petersburg, Fort Myers, Brussels, Jakarta, Ubud, Surabaya, Paris, Prague Castle
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At the end of the 1960s, when the atmosphere in society had relaxed, the impulses and starting points of Němec's work partially changed, and the method of imprinting was used to create the paintings
219:, which significantly influenced his further work. In the mid-1960s (1965–67) he was employed for two years as an artist at the Cultural House of Transport Enterprises in Prague. At that time, the
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K.Š. Křižovnická School of Pure Humour without Joke, 1991, Brikcius E et al., cat. 56 p., Gallery of Modern Art in Hradec Králové, Gallery of Fine Art in
Olomouc, Central Bohemian Gallery, Prague
470:(1967). In addition to the imprint, Němec also used painting and especially spraying paint over various stencils and rasters, which became a dominant feature of his work from the 1970s onwards.
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impressions of objects and splattered rasters. Nemec continually varied the technique and experimented with new methods - for example, combining it with a print from a photographic portrait (
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are related to the postmodern tendencies of the 1980s. It is actually a multiple appropriation, as it uses the method of repeating a pictorial motif in different colours typical of
432:"). Jindřich Chalupecký also points to the extreme consequence of the imprint of the human body in a work of art - not a mere representation, but a visible and unmediated presence.
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172:(19 May 1936 Prague - 12 March 2015 Prague) was a Czech painter, printmaker, poet and sculptor. He was one of the leading representatives of the New Figuration in Czechoslovakia.
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he was engaged in landscape painting and graduated with a set of graphic works for the Museum in
Roztoky. At the same time, during his studies, he illustrated a book of poems by
815:, 1987). Since the second half of the 1970s, Nemec has been composing three-dimensional objects from found objects as well as from rasters and stencils used in spray painting.
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2003–2004 World of Stars and
Illusions: Gems of the Czech Film Poster Tradition, Czech Centre New York City, Los Angeles, London, Dresden, Hongkong, Macau, Karlovy Vary
451:, 1976–77). Also, the series of huddled figures that appear in Němec's work until the 1990s are an introverted reflection on loneliness and the need to seek safety (
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T. Jindrová (2011) gives a very detailed account of the origins of his work and an analysis of his work from the 1960s onwards in her diploma thesis. The exhibition
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La figuration narrative: Continuous style, temporal juxtapositions, cloisonnés and polyptychs, itineraries and metamorphoses, Václav Špála
Gallery 1966
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In the 1970s, he returned to the technique temporarily in a series of original sheets on which he printed his face wrapped in dyed fabric or plastic (
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experiences from his early childhood, also reflected in Němec's later texts. The sun is a source of creative energy and a release from depression.
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1997 From the
Uncollected Collection of Marcela Pánková, Galerie U Kamene, Cheb, Galerie Hermit - Studio 600, Prague, Galerie bratří Čapků, Prague
718:. The same technique - spraying paint over stencils cut from enlarged photographs - was also used to create some landscapes, first in the 1970s (
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In the relaxed atmosphere of the late 1960s, partly with an overlap into the early 1970s, a variety of events developed in the circle of the
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Tereza
Jindrová: Rudolf Němec - Imprint, Silhouette, Grid, Institute of Art History, Faculty of Philosophy, Charles University, Prague 2011
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played the central and only character who is manipulated. Later, Rudolf Němec also worked as a production designer on the children's film
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Rudolf Němec exhibited regularly from 1965 at collective exhibitions of young artists. In 1968 he had his first solo exhibition at the
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453:"Huddled Solitudes I imprint on canvas, I return to my mood again - to nature, quenched by thirst, by arid landscape I fade away"
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to the studio of prof. Antonín
Strnadel. He finished his studies in 1961 with a set of graphic works for the Museum in
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or reflect Rudolf Němec's depressing experiences during his hospitalization in the
Psychiatric hospital in Bohnice. (
266:. When the scholarship was finally not awarded and most of his friends returned to Prague, Rudolf Němec travelled to
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I hurt myself against the protrusions, blood drips over the frames of the paintings, everything heals back to purity
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Rudolf Němec: Nerozumím už Nietzschemu, texts by Pěkný Tomáš, Rous Jan, Šrut Pavel, 210 p., Torst, Prague, 2000,
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Working with rasters in the 1970s, Němec took a natural route to an abstract figure composed of repeating signs (
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Eugen Brikcius: Rudolf's Number, in: The Interpreted Artists or Art Historical Fairy Tales, 1990, pp. 79–80
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1968 Happening of E. Brikcius in front of the National Theatre, recording of imaginary shadows of pedestrians
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in Normandy, where he received a scholarship. Together with several other Czech artists, they waited for the
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Rudolf Němec: The Painter's Memoirs:, 14 sheets in plates, 1977, Archive of Fine Arts, Kostelec n. Č. lesy
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Eugen Brikcius: Rudolf's Number, in: The Unloaded Artists or Kunsthistorical Fairy Tales, 1990, pp. 79-80
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method as the paintings or by imprinting the cotton fabric used earlier in the creation of the painting.
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Rat's Nest, Topinka Miloslav, 132 p., Mladá fronta, Prague 1970 (the edition was officially scrapped)
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Lucie Brychtová: Rudolf Němec - In the Madhouse, Faculty of Education, Masaryk University, Brno 2007
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1141:"Nekrolog: Rudolf Němec maloval hlavou, básně psal ale s vtipem | Hospodářské noviny (HN.cz)"
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Němec's poems were used as the basis for the author's book with illustrations by Lucie Brychtová,
947:. The silent film was directed by Dobroslav Zborník in Helena Wilson's studio and screened at the
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642:, 1977) from the late 1970s, created as pen drawings, zinc prints, offset prints or lithographs (
285:, which was subsequently banned. In the 1970s and 1980s, he belonged to the inner circle of the
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1993 Rudolf Němec, Central Bohemian Gallery, Prague, Gallery of Modern Art in Hradec Králové
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Rudolf Němec, 1993, Hanel Olaf, Němec Rudolf, cat. 32 p., Central Bohemia Gallery, Prague
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Rudolf Němec: Silhouettes, 1981, Kříž Jan, cat. 7 p., Club of Science and Education, Brno
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In the 1980s, he created totemized abstract figures by composing multi-colored rasters (
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the manuscript volumes from 1977 to 1994 was published in 2000 by Torst (Rudolf Němec:
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The negative imprint of the human figure in a position that evokes physical suffering (
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1970 The Sundial (E. Brikcius) and the event Cocoon-ing (R. Němec), Roztoky u Prahy
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1987 Rudolf Němec: Monotypes, Small Gallery of the Czechoslovak Writers, Prague
889:- from private pataphysical escapades to performances, happenings or land art.
646:, 1977) and watercolours with negative wax chalk drawings from the late 1970s (
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Figure with a Rainbow, 1973, Aleš South Bohemian Gallery in Hluboká nad Vltavou
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2000 Rudolf Němec: I don't understand Nietzsche anymore, Peron Gallery, Prague
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1987 Rudolf Němec: Paintings, drawings, Gallery of the Čapek Brothers, Prague
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Rudolf Němec: Paintings, drawings, 1987, Petrová Eva, cat. 12 p., SČVU Praha
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Jindřich Chalupecký: The Presence of Man; in: Výtvarné umění 1-2/1968, p. 11
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Karel Nepraš and friends, 2007, Brikcius E et al., cat. 79 p., KGVU in Zlín
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Rudolf Němec: Selected Works, 1986, cat. 24 p., Regional Gallery in Liberec
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1979 Die Jungen aus der Tschechoslowakei, Schlossgalerie, Wört an der Donau
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A different line of work is represented by a series of fantasy landscapes (
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296:, like many other artists, he made a living restoring monuments (1972, the
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Rudolf Nemec: Prints, rasters, 1968, Petrová Eva, cat. 12 p., SČVU Praha
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also hosted the first exhibition of foreign artists associated with the
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Rudolf Němec, 1977, Kroutvor Josef, cat. 10 p., Galerie ve věži, Mělník
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1986 Rudolf Němec: Paintings, Graphic Art, Regional Gallery in Liberec
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Interview, undated, Aleš South Bohemian Gallery in Hluboká nad Vltavou
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Dance of a Young Man (1967), Gallery of Modern Art Roudnice nad Labem
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1981 Rudolf Němec: Silhouettes, Club of Science and Education, Brno
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A series of Němec's appropriations of well-known works such as the
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An Autopsy, 1967, North Bohemian Gallery of Fine Arts in Litoměřice
440:, 1967), or by colouring prints of a face smeared with Arabic gum (
324:. His first extensive retrospective was held three years after the
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Rudolf Němec: Nerozumím už Nietzschemu, Prague 2000, p. 48, p. 122
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Museum of 20th Century Art (Museum des XX. Jahrhunderts) in Vienna
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1968 Tschechoslowakische zeitgenössische Kunst, Frankfurt am Main
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Nerozumím už Nietzschemu / I don´t understand Nietzsche any more
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Naďa Řeháková: Rudolf Nemec - selection of works, Liberec, 1986
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Tereza Jindrová: Rudolf Němec - Imprint, Silhouette, Grid, 2011
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Rudolf Němec has been represented in all major exhibitions of
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800:, 1973) or a figure partially reduced to geometric elements (
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Rudolf Němec, Silver self-portrait (1982), email, oil, canvas
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1970 77 grafici, Galleria del Palazzo dei Principi, Corregio
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1969 Junge Künstler aus der ČSSR, Haus am Kleistpark, Berlin
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Rudolf Němec: Nerozumím už Nietzschemu, Prague 2000, p. 127
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Rudolf Němec: Nerozumím už Nietzschemu, Prague 2000, p. 121
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Utopiír, Topinka Miloslav, 72 p., Mladá fronta Praha, 1969
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Rudolf Němec: Nerozumím už Nietzschemu, Prague 2000, p.148
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Academy of Arts, Architecture and Design in Prague alumni
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Rudolf Němec: Nerozumím už Nietzschemu, Prague 2000, p.41
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Rudolf Němec: Nerozumím už Nietzschemu, Prague 2000, p.36
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1992 Rudolf Němec: Paintings/Drawings, Galerie K, Prague
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1971 Penetration I, Dwelling, hop farm near Nelahozeves
312:, 1986) and only in 1987 did he reintroduce himself to
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Abstract figures, silhouettes, graphic sheets, objects
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since 1969 and in the survey exhibitions after 1989 (
204:, he worked in a small studio on Komenský náměstí in
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1970 Telesighting (E. Brikcius), at Petřín in Prague
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The Křižovnická school of pure humour without jokes
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1967 17 tsjechische kunstenaars, Galerie Orez, Haag
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1965 Junge tschechische graphiker, 1. Teil, Alpbach
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Those bars are robbing my brain... Empty in my head
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994:Aleš South Bohemian Gallery in Hluboká nad Vltavou
385:and Antonio Recalcati, she mentions in particular
1072:2009 Rudolf Němec: Prints, Dolmen Gallery, Prague
1003:North Bohemian Gallery of Fine Arts in Litoměřice
377:, which was an impulse for the Czech creators of
1045:1977 Rudolf Němec, Gallery in the Tower, Mělník
1042:1968 Rudolf Němec, Václav Špála Gallery, Prague
943:In 1968, Rudolf Nemec wrote the screenplay for
287:Križovnická school of pure humour without jokes
542:I dedicate my head to my friend Míla (1966–67)
1401:Rudolf Němec, Czech Museum of Fine Arts, 1993
931:, 1975), a combination of soot and rayogram (
482:In Depression, 1964, Regional Gallery Liberec
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1391:Rudolf Němec in the abART information system
786:Red Bar (1984–85), acryl, email, oil, canvas
679:, 1986), as well as familiar motifs such as
16:Czech painter, poet and sculptor (1936–2015)
1006:Gallery of Modern Art in Roudnice nad Labem
349:As a student of Applied Graphic Art at the
277:In 1971, he participated in the exhibition
997:Czech Museum of Fine Arts in Prague (GASK)
80:
1080:Collective exhibitions abroad (selection)
322:Small Gallery of the Czechoslovak Writers
69:Learn how and when to remove this message
617:Draped Nude, 1974–1975, Terezín Memorial
32:This article includes a list of general
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1075:2018 Rudolf Němec, Museum Kampa, Prague
1015:Gallery of Modern Art in Hradec Králové
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714:(1984–85) uses a dot grid referring to
629:The Suffering of Saint Sebastian (1978)
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1027:Private collections at home and abroad
1018:Gallery of Fine Arts in Havlíčkův Brod
605:Hunched over, 1974, private collection
506:Sitting, 1967, National gallery Prague
262:scholarship and planned a trip to the
244:Warsaw Pact invasion of Czechoslovakia
211:In 1964, he visited the exhibition of
1009:Regional Gallery of Fine Arts in Zlín
238:for an experimental film and visited
180:Rudolf Němec spent his youth and the
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722:, 1976) and then again around 1985 (
351:Academy of Arts and Crafts in Prague
194:Academy of Arts and Crafts in Prague
991:Slovak National Gallery, Bratislava
569:Musicians, 1970, private collection
332:. Rudolf Němec lived and worked in
330:Czech Museum of Fine Arts in Prague
270:and after a few months returned to
155:printmaker, painter, sculptor, poet
200:. After completing the compulsory
38:it lacks sufficient corresponding
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345:Early paintings and illustrations
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1000:Gallery of Fine Arts in Ostrava
959:(directed by Ota Koval, 1970).
875:Family with Angels (1972), wood
687:, 1984), serve as silhouettes.
902:1968 Drawing Shadows, Douville
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1458:Czech experimental filmmakers
983:Representation in collections
318:Gallery of the Čapek Brothers
1438:20th-century Czech sculptors
1262:Tereza Jindrová, 2011, p. 28
1012:Benedikt Rejt Gallery, Louny
977:Rudolf Němec - in a Madhouse
929:Self-Portraits with Negative
702:or the trio of figures from
449:Looking into the Violet Glow
424:, 1978) is an expression of
242:in the same year. After the
146:Academy of Fine Arts, Prague
1428:20th-century Czech painters
1021:Regional Gallery in Liberec
949:Paris Student Film Festival
917:1971 Penetration II, Liptov
738:Remembrance of Manet (1983)
548:Décalques and related works
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988:National Gallery in Prague
881:Actions, photography, film
851:Aphrodite (1985), drypoint
839:Rudolf Němec, Woman (1976)
1448:Czech performance artists
863:Object A (undated), metal
827:Man (Self-Portrait, 1976)
704:The Luncheon on the Grass
90:
1468:Czech male screenwriters
326:fall of communist regime
316:with exhibitions at the
762:Big Little Queen (1987)
53:more precise citations.
1396:Rudolf Němec in ProMus
685:Remembrance of Olympia
166:
1343:Collective catalogues
724:Landscape with Bridge
581:Sitting Figure (1972)
164:
1443:Czech poster artists
1414:at Wikimedia Commons
1412:Rudolf Němec (malíř)
460:Dance of a Young Man
418:Before the Execution
292:At the beginning of
232:Václav Špála Gallery
221:Václav Špála Gallery
1463:Czech screenwriters
1318:Author's catalogues
644:Landscape on a Dump
426:existential anxiety
298:Holy Hill at Hostýn
188:near Prague and in
97:Rudolf Němec (2013)
1453:Czech illustrators
1312:on line (in Czech)
1306:on line (in Czech)
957:Lucie and miracles
887:Križovnická School
215:(Pop etc.) at the
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1433:Czech printmakers
1410:Media related to
933:Self-Portrait III
750:Thoughtful (1985)
693:Double Perception
555:Nude by the Water
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1115:New Figuration
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379:New Figuration
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225:New Figuration
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152:Known for
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131:(aged 78)
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414:In Depression
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395:Francis Bacon
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359:Všechna slast
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294:normalization
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279:Confrontation
275:
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264:United States
261:
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254:and later to
253:
250:, he went to
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127:12 March 2015
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59:December 2021
52:
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1356:Publications
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1148:. Retrieved
1144:
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1103:1993–2003 –
976:
974:
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966:
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953:Boris Hybner
948:
945:Manipulation
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442:Figure I-III
441:
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434:
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421:
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370:
368:
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355:Zbyněk Hejda
348:
329:
321:
317:
291:
286:
282:
278:
276:
229:
210:
179:
170:Rudolf Němec
169:
168:
129:(2015-03-12)
85:Rudolf Němec
65:
56:
37:
1483:2015 deaths
1478:1936 births
1473:Czech poets
1032:Exhibitions
708:Andy Warhol
677:The Wounded
387:Andy Warhol
236:film script
113:19 May 1936
51:introducing
1422:Categories
1150:2021-12-14
1126:References
712:Bar in Red
383:Yves Klein
109:1936-05-19
34:references
1145:art.hn.cz
1105:Minisalon
804:, 1976).
802:Musicians
726:, 1985).
700:Mona Lisa
695:, 1985).
650:, 1979).
648:Seascapes
444:, 1966).
409:quality.
274:in 1969.
142:Education
1037:Author´s
553:canvas (
466:(1968),
462:(1967),
420:, 1966,
416:, 1964,
365:Imprints
320:and the
308:, 1981,
304:, 1977,
1294:Sources
468:Sitting
422:Autopsy
371:Pop etc
310:Liberec
281:at the
213:Pop art
198:Roztoky
186:Roztoky
47:improve
1365:
922:Photos
897:Events
375:Vienna
334:Prague
314:Prague
302:Mělník
272:Prague
268:London
206:Žižkov
190:Skuteč
135:Prague
117:Prague
36:, but
1270:Notes
1139:dak.
798:Robot
665:Magor
464:Dance
399:César
252:Paris
240:Paris
1363:ISBN
939:Film
720:City
401:and
340:Work
306:Brno
256:Caen
176:Life
124:Died
103:Born
671:).
455:).
438:Pit
373:in
184:in
1424::
1143:.
405:.
397:,
393:,
389:,
357:,
289:.
227:.
208:.
1153:.
1121:)
927:(
691:(
683:(
675:(
111:)
107:(
72:)
66:(
61:)
57:(
43:.
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