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1639:- Sekal kept a detailed diary from his early youth, practically daily, rarely with longer breaks. For him as an introvert, the diary was a partner in dialogue and a place for self-reflection and permanent intellectual revision of his work. Older entries were often rewritten in the pursuit of perfection and took the form of literature intended for publication. In the last years of his life, this need intensified and it became a ritual stereotype - a kind of continuous litany structured by an identical entry formula in which he gives the exact time and his position in space. The diaries make clear his obsession with work, which also became his struggle for life.
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1143:, 1972, 1977). The obsession with nails haunted Sekal throughout his life. From the 1960s onwards, he worked with a limited register of subjects and preserved their materiality, but he carried his formal sobriety to extreme consequences, especially in his later works with stigmatic objects. A completely personal and intimate part of his work is the assembling of objects in pictures into numerical series. He copes with the trauma of his imprisonment in a
884:), which Sekal has been creating since 1962 in parallel with material collages on paper, and which he considers to be a different means of painting, the primary inspiration of surrealist assemblage is evident, which puts discarded and damaged objects into new contexts. For his assemblages, Sekal mostly used objects already used, marked by human activity. In 1962–1963, he created the first series of wooden assemblages in the series
923:, 1966). Unlike some of his generation contemporaries, even in the second half of the 1960s he managed to avoid formal exaltation and aestheticization, and his works increasingly tended towards expressive and formal austerity. After his emigration, his assembled pictures became more characterized by a central symmetry, for which he found points of contact in the structural anthropology of
1187:. These protect the original core around which they were assembled as something precious, but the core is also the pretext for the whole construction. As can be seen from the artist's diaries, the idea of building the sculpture from the inside, from its core towards the space, had been on his mind since 1966 and then again when he created the
637:(1955) is exceptional; it is a stylized self-portrait and does not depict sleep but an inward-looking gaze. It coincides with the break-up with his first wife Ludmila. Autobiographical tendencies in Sekal's work are also manifested in self-reflection through diary entries. He was conceptually close to
2025:
2002/2004 The World of Stars and
Illusions. Czech Film Posters of the 20th Century, Moravian Gallery in Brno, Mánes, Prague, Czech Centre New York, Czech Centre London, Consulate General of the Czech Republic, Los Angeles, Czech Cultural Centre, Bratislava, Czech Centre Dresden, Consulate General of
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Nešlehová M., Poselství jiného výrazu, Pojetí informelu v českém umění 50. a první poloviny 60. let / The
Message of Another Expression, The Concept of Informel in Czech Art of the 1950s and the First Half of the 1960s, (cz, en), 286 p., Artefact Prague 1997, ISBN 80-902160-0-5 BASE Publishing ISBN
773:
are a means of self-identification and a representation of the feeling of fragility and the impossibility of finding a way out of this condition. He constructed the sculptures as living organisms by cutting through matter and adding elements that represented labyrinths and secret caves. At the same
1332:, which he had intended for his retrospective exhibition at the Prague City Gallery. Sekal concluded his creative activity with an extraordinary accomplishment, transforming his last studio into a total work of art six months before his death. The studio was reinstalled in this form as part of the
1345:
We want to go our own way, which we hardly know at all yet. We don't want to resemble other people, their faces are becoming more and more like the faces of idiots. It doesn't matter much about this observation, they consider us idiots too, it has always been like that. We don't want to be happy
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reconstructed Sekal's Vienna studio in 2014 and is exhibiting it in a permanent exhibition together with a large body of Sekal's sculptures. The architectural design was created by the MCA studio of architects
Miroslav Cikán and Pavla Melková. The exhibition was curated by Marie Klimešová.
1115:, he initially had no studio and in his drawings he tried to thematically build on the works he had to leave behind in Prague. In the wooden reliefs there were traces of objects and events or a missing centre. In the composed pictures, this hole refers to the open mouths of the sculptures
614:(1947) and his photographic montages anticipated the later similar work of Emila Medková in 1949. At this time, he also assembled surrealist objects and made several book cover designs for titles by Breton, Kafka, and Meyrink. One of the earliest motifs of his postwar drawings is
2806:
Geneviève Bénamou (ed.), Sensibilités contemporaines / Contemporary artistic sensibilities, 70 artistes d'origine tchégue et slovaque hors tchécoslovaquie / 70 artists of Czech and Slovak origin living outside
Czechoslovakia 1970–1984, 297 p., ang., fr., Paris 1985, ISBN
693:
494:. After his emigration he experienced a creative crisis, he missed his partner, who remained in Czechoslovakia, and the role of teacher was alien to his introvert nature. In Vienna he married Christine Pulitzer. From 1974 to the early 1980s he was a member of the
180:, where he worked for a year in a stone quarry. In the concentration camp, he became close to the Polish painter Marian Bogusz, and later, as a scribe in an office, he perfected his German, from which he later translated very difficult philosophical texts.
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In the late 1980s and early 1990s, Sekal returned to modeling and resumed miniature formats created in the early 1970s, which were prompted by a sense of confinement in the small space of the studio. The chamber sculptures created in Vienna refer to
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In 1951–1953 he was employed as a publicity officer at the
General Directorate of Meat Industry and as a literary editor at the Political Literature Publishing House (later Svoboda publishing house). In the winter of 1952/1953 he completed his
1179:, 1988, 1990). Between 1985 and 1991, he used traces of plant juices, which he completed in watercolour by means of free form associations. In addition to drawings, he made collages using waste materials such as banana peels and salami skins.
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The artist sometimes revisited the assembled pictures and reworked some of them. To avoid this, he came to the decision in 1983 to give them a third dimension in the form of boxes made of wooden slats, which he initially referred to as
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2007/8 Soustředěný pohled / Focused View. Graphics of the 1960s from the collections of the member galleries of the
Council of Galleries of the Czech Republic, Regional Gallery in Liberec, Liberec, Regional Gallery of the Highlands in
459:(1967). Even when chiselling the stone, he did not abandon the basic principle of connection with memory, and arrived at an organic shape that was reminiscent of the sandstone rocks in the Děčín region that he knew from his childhood.
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549:, which he visited twice in the last decade of his life (1989 and 1997). In July 1996, during the preparations for the Prague exhibition, he fell seriously ill and had to undergo lung surgery. He died in Vienna on 24 February 1998.
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and later worked in the left-wing anti-Nazi
National Movement of Working Youth. At the beginning of the war, he tragically lost his father. In 1941, at the age of eighteen, he was arrested for distributing leaflets, imprisoned in
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in 1979. As an echo of the surrealist background of the sculptor's work, a common object, most often a board marked by traces of use, is usually at the centre of the boxes, while the box sometimes represents a valuable
919:, 1968) and a more organized form of labyrinth. Sekal worked with a variety of found metal fragments, and in composing the relief he emphasized the memory of the material and sought a new metaphorical meaning for it (
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660:'s novel and in the context of Czech sculpture of the 1950s it represents an extraordinary act in its radicality and independence from any models. The existential symbols are drawings and sculptures of birds (
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In 1934–1941 he graduated from the Real
Gymnasium and the Business Academy and then worked briefly as an intern at the Topič publishing house. Before the war, he was already involved in the activities of the
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because of his friends, but he did not identify with the group's program. In the 1950s, under the influence of reading, he felt an "inner emigration", remained a solitaire in his work, and long before the
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1089:, he never considered himself a surrealist. Ultimately, the intellectual component, the exploration of spatial relationships and the desire to create order are always the defining process in his work.
946:, are unique works. Already in the mid-1960s, and then after his emigration in the 1970s, the need to find order in the chaos of wires manifested itself in the depiction of the cross as a traditional
888:, (Holzwege) which he followed up with a series of works during his stay in Düsseldorf (wall relief, 1970) and further works in 1991–1995, conceived as precise inlaid miniatures made of natural wood.
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2022/2023 Das Tier in Dir: Kreaturen in (und außerhalb) der mumok
Sammlung / The Animal Within: Creatures in (and outside) the mumok Collection, MUMOK - Museum Moderner Kunst Stiftung Ludwig Wien
678:
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Lubomír Vašátko, born 5 September 1919 in
Jihlava - 1942 Mauthausen, was a pharmaceutical aspirant and surrealist painter, active before the war in the student association Youth Culture.
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New Sensitivity / Nová citlivost, Czech Sculpture of the 1960s - 1980s / České sochařství 60.-80. let 20. století, Knížák M et al., 189 p., (cz, en, chin), National Gallery Prague 2010
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1312:, 1988). After returning from Japan, he felt the need to create sculptures with a rounded organic shape and realized several variations based on a plaster cast of a found stone (
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1062:, which became a strong artistic and spiritual experience and contributed to the purification of the form of his sculptures and composed pictures in the following years.
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and his "Portrait of a Man Experiencing the Inner World" and understanding art not as a "representation of the visible" but as "making visible in a more esoteric sense."
1208:, 1993). The need to prevent others from touching the work and to enclose it in a box arose while he was working on a tabernacle. It is also related to his interest in
2007:
1993/94 Record of the Most Diverse Factors... Czech Painting of the Second Half of the 20th Century from the Collections of State Galleries, Prague Castle Riding Hall
781:
Since the early 1960s, Sekal's figurative work has evolved towards a gradual deformation and simplification of form, sometimes with an emphasis on plastic volume (
1499:, anthology (Sämtliche Werke, Band 1, 2, ), Philosophical Library, Works of the Czechoslovak Academy of Sciences. Section of Economics, Law and Philosophy, Prague
215:
several times. He was strongly impressed by the rawness of the installations with reminiscences of war and camps and the primitivizing paintings (in the Foyer de
413:, but he differed in his strictly intellectual approach to his work. In 1961 he married for the second time to Helena Waldvogel, with whom he had a son, Ondrej.
591:, foreshadowed his later interest in material creation. His sculptural work ranges between modelling and object and is based on the transformed principles of
2829:
Klimešová M, Greetings to a distant land, greetings from a distant land: Zbyněk Sekal and Japan, 128 p., Arbor vitae, Řevnice 2014, ISBN 978-80-86415-97-0
2762:
Zbyněk Sekal: Works of the last fifty-five years, Baumann H, Hofmann W, Klimešová M, Sekal Z, cat. 184 p., no., no., GHMP, Prague 1997, ISBN 80-7010-043-5
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Breton A: Magnetic Fields, Meyrink G: Golem, Kafka F: Transformation, Lorca F. G: Poet in New York, Kesten H: Happy People, Kisch E. E: American Paradise
903:), he expresses the existential significance of these labyrinths and his inner alienation from society. The surface structuring shared by artists of the
483:. He had to leave behind several dozen sculptures in Prague, only some of which could be brought to Vienna by his son, who was forced to emigrate by the
2593:
E. Vaculíková, Reconstruction of the brutalist InterContinental Hotel to motivate the search for ways to save post-war architecture, EARCH.cz, 5.1.2023
2820:
Morganová P. et al., České umění 1938-1989 / Czech Art 1938–1989, Programs, critical texts, documents, 520 s., Academia Praha 2001, ISBN 80-200-0930-2
1243:, 1991). They are based on visual multiplicity and assembled from structural elements densely wrapped with thin copper wire with accentuated joints.
2924:
2919:
1175:, 1989), or are studies of the relationship between the organic world and abstract spatial forms, and deliberately do not refer to the real object (
990:
1239:(wire metal boxes) from the early 1990s contain no core and are rather a kind of outline of a sculpture, constructed into complex spatial forms (
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2003 Art is Abstraction. Czech Visual Culture of the 1960s, Prague Castle Riding Hall, Museum of Decorative Arts, Brno, Salon, Kabinet, Olomouc
468:
352:
142:
1135:, 1973) and continued to collect and preserve material for further works until the 1990s. He also created a series of assembled pictures with
2759:
Zbyněk Sekal: Skulpturen, Materialbilder, Zeichnungen, Gerüste (1967–1991), Hofmann W, Sekal Z, cat. 36 p., no., Künstlerhaus Klagenfurt 1992
1599:
1550:
618:, followed by still lifes, drawings of birds, caricatured drawings of soldiers in uniform, and finally a cold, detached reminiscence of war (
579:, was important. During his studies in 1945–1950 he was interested in figuration, but his experiments with the non-traditional techniques of
1850:
1977 Zusammengesetzte Bilder, Zeichnungen, Neue Galerie des Landesmuseum Joanneum in Graz, Museum Bochum, Museum des 20. Jahrhunderts, Vídeň
1308:
Sekal's sculptures from the late 1980s and early 1990s have a small scale and abstract geometric shapes, sometimes referring to figuration (
761:
takes the loosely anthropomorphic form of a war invalid and represents a transition to a transparent system of lines without an inner core (
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Zbyněk Sekal: Some works from 1940 to 1992, Hofmann W, Sekal Z, Valoch J, cat. 47 p., no., no., Brno House of Arts 1992, ISBN 80-7009-052-9
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at Topič Salon. Shortly before his trip to Paris, at the age of 24, he married the painter Ludmila Purkyňová, with whom he had a son, Jan.
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2063:
2019 Nezlomní: Od Franze Kafky po sametovou revoluci / The Steadfast: From Franz Kafka to the Velvet Revolution, Municipal house, Prague
246:, but in 1950 he left the school without a diploma to avoid politicized state exams. After leaving school, he belonged to the so-called
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2004/06 Šedesátá / The sixties, From the collection of the Zlatá husa Gallery in Prague, Brno House of Arts, Karlovy Vary Art Gallery
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757:, 1931) and is related to Sekal's need to find a shelter where he could escape from everyday traffic and work in a focused manner.
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were made in 1940–1941 and during his imprisonment during the war. His contact with Lubomír Vašátko, who later perished in the
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Tschechoslowakische Kunst Heute – Profile V, Kotalík J., Leo P., Míčko M., 166 p., (de), Städtische Kunstgalerie, Bochum 1965
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in the mid-1960s, is gradually replaced by a new quality, consisting in the creation of an apparent or real geometric order (
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Klimešová M., Roky ve dnech / Years in Days, Czech Art 1945–957, 424 p., Prague City Gallery 2010, ISBN 978-80-87164-35-8
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1970 Tschechische Skulptur des 20. Jahrhunderts: Von Myslbek bis zur Gegenwart, Schloß Charlottenburg - Orangerie, Berlin
421:
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Foci of Rebirth, Czech Art 1956–1963, Bregant M. et al., 447 p., (cz, en), Prague City Gallery 1994, ISBN 80-7010-029-X
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Shortly before his emigration, Sekal was invited by architect Karel Filsak to design a ceramic tile facade for Prague's
935:
298:) and sent them manuscripts of his translations. At that time, he was interested in Russian pre-revolutionary thinkers (
2790:Šedesátá / The sixties, Juříková M., Železný V., 414 p., (cz, en), Galerie Zlatá husa, Prague 2004, ISBN 80-239-3406-6
2784:
Czech Informel, Pioneers of Abstraction 1957–1964, Dufek A., Nešlehová M., Valoch J., 266 p., Prague City Gallery 1991
534:
2778:
Aktuální tendence českého umění / Tendances actuelles de l'art tchéque, Míčko M., 162 p., (cz, fr), AICA, Prague 1966
2702:
173:
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Zbyněk Sekal, And things are slowly taking over, Alšova jihočeská galerie, Arbor vitae, 2015, ISBN 978-80-87799-40-6
610:), he tried different variations from the veristic to the expressive and imaginative. His photographs of his wife's
2914:
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793:, 1963). In the abstract themes, figuration is suppressed and empty volume plays an important role alongside mass (
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and was the author of the generational statement " Postscript or Abdication" (1951), which was first published in
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2014 Sekal and Japan. Greetings to a distant land, Greetings from a distant land, West Bohemian Gallery in Plzeň
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1997 Works for the last fifty-five years / Arbeiten aus den letzten fünfundfünfzig Jahren, Prague City Gallery
397:
introduced him to the sculptor Barbara Pniewska, whose material work was the inspiration for the first of his
2810:
Chalupecký J., Nešlehová M., New Art in Bohemia, 173 p., H&H, s. r. o., Jinočany 1994, ISBN 80-85787-81-4
1715:
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1980:
1983/84 Das Prinzip Hoffnung. Aspekte der Utopie in der Kunst und Kultur des 20. Jahrhunderts, Museum Bochum
1926:
1965 La transfiguration de l'art tcfhéque: Peinture - sculpture - verre - collages, Palais de Congres, Liege
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1992/93 Některé práce z let 1940–1992, Dům umění města Brna, Dům umění v Opavě, Galéria Médium, Bratislava
1723:
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924:
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2016:
1997 Aspekte imaginativer Kunst im 20. Jahrhundert: Profil und Perspektiven einer Sammlung, Museum Bochum
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1969 Arte contemporanea in Cecoslovacchia, Galleria Nazionale d'Arte Moderna e Contemporanea (GNAM), Rome
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203:, which had been formed by his friends of the same generation at the beginning of the war. On a trip to
149:. Already in the mid-1960s, he was considered one of the most important and distinctive Czech sculptors.
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The radical transformation of the figure resulted in a series of sculptures with a new content message (
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in 1957, participated in the second exhibition in 1958 as a member and returned to Prague. Sekal joined
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from German and an art editor. However, he maintained written and personal contact with Prague friends (
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1986:
1990 Polymorphie: Kunst als subversives Element Tschechoslowakei 1939–1990, Martin-Gropius-Bau, Berlin
1108:. The wall, measuring about 6 x 12 m, has not survived and only designs on a scale of 1:10 are known.
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symbol. These artworks also resulted from two years of work on a set of furnishings for the church in
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633:, 1957), on which he tests simplified modelling. In the context of Czech sculpture of the 1950s, his
2722:
Marie Klimešová: Zbyněk Sekal (cz, en), 543 p., Řevnice: Arbor vitae, 2015, ISBN 978-80-7467-088-6.
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1050:, where he created block abstract sculptures and, during his second participation, a statue of the
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436:. In Germany, he made friendly contacts that enabled him, after emigrating, to take advantage of a
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1545:, Odeon, Edition: Contemporary World Prose. Small Series, Prague, 3rd ed. 2009, Atlantis Prague,
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From 1964 onwards, he created intricate tangles of wire, fixed on wooden panels, which he called
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In the late 1950s, Sekal created several intimate sculptures in which he deals with post-Cubist (
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returned to Zbyněk Sekal the works held in Prague after his emigration throughout the period of
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1965 Zbyněk Sekal: assemblages, Miloslav Chlupáč: sculptures, Galerie im Greichenberisl, Vienna
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Fernand Hazan (ed.), Nouveau dictionnaire de la sculpture moderne, Paris 1970, p. 279-280
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Zbyněk Sekal: Sculptures - reliefs 1948–1965, Kříž J., cat. 30 p., no., fr., SČVU, Prague 1965
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Erhart G., Colourful Trajectories of Dreams, publisher. H+H, Prague 2008, ISBN 9788073190736
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Zbyněk Sekal: Folded paintings and sculptures, Chalupecký J., cat. 12 p., SČVU, Prague 1969
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2015 Die achtziger Jahre in der Sammlung des MUSA, MUSA Museum Start Gallery Artothek, Wien
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1462:, State Publishing House of Political Literature, Living Links; series II, vol. 15, Prague
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motifs, in which the symbol of suffering, apart from the cross, is the spikes themselves (
1100:. Shortly after his departure from Czechoslovakia, he was commissioned by the director of
1059:
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Zbyněk Sekal: Geflechte Anwendungen eines Verfahrens, cat. 24 p., Neue Galerie, Wien 1982
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Zbyněk Sekal: Zusammengesetzte Bilder (Zeichnungen), Cage J et al., cat. 68 p., Graz 1977
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1877:
2003 Plastiky a reliéfy 1959–1994, Galerie Ztichlá klika, Praha, Galerie Caesar, Olomouc
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1992 Skulpturen, Materialbilder, Zeichnungen, Gerüste 1967–1991, Künstlerhaus Klagenfurt
1085:, 1966). Although the starting points of Sekal's sculptures, reliefs and boxes refer to
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to join his wife, and in the following years until 1958 lived there alone, working as a
1615:
1324:(1992). Between 1995 and 1997, he redesigned the plaster sculptures that returned from
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133:(12 July 1923 – 24 February 1998) was a Czech sculptor, painter and translator. During
55:
2817:
Hůla J., Interviews, 122 p., Dauphin Publishing House, Prague 2001, ISBN 80-86019-74-8
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Zbyněk Sekal: Bronzen, Zeichnungen, Sotriffer K., cat. 44 p., Neue Galerie, Wien 1988
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Radio Prag International: Zbyněk Sekal – avantgardní umělec mezi Prahou a Vídní, 2020
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Klimešová M: Studies, Surrealists in the Tichý Atelier, in: Zbyněk Sekal, 2015, p. 23
1923:
1965 Keramik aus 12 ländern, Internationaler Künstlerclub IKC (Palais Pálffy), Vienna
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organized for students in 1947 by prof. Václav Nebeský, he visited the International
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In the chamber sculptures from the 1960s, there is still a rare hint of figuration (
741:, 1958, 1959), which Sekal then reworked in a different form in the 1980s. The term
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Sekal's first sculptural works are studies of heads and busts in patinated plaster (
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1966 Tschechoslowakische Plastik von 1900 bis zur Gegenwart, Museum Folkwang, Essen
1561:
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time, his first composed (folded) reliefs were created, conceived as wire tangles (
606:, and in cycles of drawings, often self-portraits questioning his own personality (
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1069:, 1966); more often the titles symbolically denote the process of creation, as in
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Sekal: scultore, Martini S, Sekal Z, cat. 40 p., Studio oni de Rossi, Verona 1991
2725:
Marie Klimešová: Zbyněk Sekal and Japan, Arbor vitae 2014, ISBN 978-80-7467-064-0
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2010 Czech Art in Exile / Tschechische Kunst im Exil, Vienan, Galerie G, Olomouc
1917:
1965 Tschechoslowakische Kunst heute: Profile V, Städtische Kunstgalerie, Bochum
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Sekal's entire oeuvre is deeply introvert, as the following quote from his text
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664:, 1957), but especially two suggestive sculptures evoking the suffering of war (
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1971:
1976 Parallelaktion, Neue Kunst aus Österreich, Von der Heydt Museum, Wuppertal
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to create a monumental wall made of stacked wood in David Hansemann's house in
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The Wind Calms Down Before Dawn (1960), Test Drive (1962), Festive Ride (1964)
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1046:. In the 1960s, he participated in the newly established ceramic symposium in
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Wo bleibst du, Revolution?, Astier P et al., 156 p., (de), Museum Bochum 1989
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1967 Mostra d'arte contemporanea cecoslovacca, Castello del Valentino, Torino
1853:
1982, 1985, 1987 Geflechte Anwendungen eines Verfahrens, Neue Galerie, Vienna
2849:
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Zbyněk Sekal: Bilder und Skulpturen, Travaux R, cat. 12 p., de., Vienna 1971
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the Czech Republic, Hong Kong, Art Gallery Karlovy Vary, Macao Museum of Art
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in the studio of prof. František Tichý and made friends with his classmates
98:
1998:
1991 Czech Informel. Pioneers of Abstraction 1957–1964, Prague City Gallery
379:
1944:
1967 17 tsjechische kunstenaars (17 Czech Artists), Galerie Orez, Den Haag
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1967/1970 Odeon, publishing house of fine literature and art, n.p., Prague
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by converting his prisoner's number into mere banal numerical operations (
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1999 The Art of Accelerated Time. Czech Art Scene 1958–1968, Prague, Cheb
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1966 Tschechoslowakische Kunst der Gegenwart, Akademie der Künste, Berlín
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1962/1964 State Publishing House of Fine Literature and Art, n.p., Prague
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1968 Sculpture tchècoslovaque de Myslbek à nos jours, Musée Rodin, Paris
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2016 Young Sekal - Drawings from the camp and other..., Terezín Memorial
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Kultur online: Zbyněk Sekal - ein Materialpoet und kritischer Zeitgeist
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Museum des 20. Jahrhunderts (20er Haus) / Museum Moderner Kunst, Vienna
1047:
657:
584:
448:
433:
356:
146:
77:
2845:
Zbyněk Sekal - ein Materialpoet und kritischer Zeitgeist, Belvedere 21
1232:
and studied ethnological literature and books on magic and shamanism.
1200:, 1985), often complex, strictly geometric and rational construction (
2101:
Karel Miller, Kronika výstav, Výtvarná práce 13, 1965, no. 8, pp. 6–7
1582:
1164:
1112:
568:
480:
472:
375:
363:
228:
73:
51:
2839:
2245:
1974:
1980 Die Kunst Osteuropas im 20. Jahrhundert, Garmisch-Partenkirchen
2135:
Klimešová M: Childhood, Camp, UMPRUM, in: Zbyněk Sekal, 2015, p. 13
2010:
1994 Grey Brick 66/1994 Exile, U Bílého jednorožce Gallery, Klatovy
801:, 1968) or the sculptures approach relief in rendering of surface (
1221:
1123:, but also to the original existential feeling at their creation (
546:
526:
224:
204:
1968:
1974 Tschechische Künstler, Galerie Wendtorf + Swetec, Düsseldorf
1898:
2022 Drawings and intimate sculptures, Becher Villa, Karlovy Vary
1081:, 1966), or refer to the process of rebirth of discarded things (
2004:
1993 Czech Fine Art 1930–1960, Czech Museum of Fine Arts, Prague
1904:
2023 Zbyněk Sekal: Paměť / Memory, Moravian Regional Museum Brno
1316:, 1992). At the same time, he designed a memorial to the writer
522:
425:
2001:
1992 Czech Fine Art 1960–1990, Central Bohemian Gallery, Prague
1131:
in 1973, he created assembled pictures from pieces of leather (
282:. In a futile attempt to save his broken marriage, he moved to
2265:
1750:
1977/1979 Altar, ambo, tabernacle, Lustenau Church, Vorarlberg
1320:(1990), a sculpture for the grave of Alfred Schmeller and the
484:
2865:
Czech Radio: Zbyněk Sekal: Composed pictures and boxes (2012)
2042:
2008 Nechci v kleci! / No cage for me!, Museum of Art Olomouc
1938:
1967 Moderne Kunst aus Prag, Celle, Soest, Kunsthalle zu Kiel
1880:
2010 Skládané obrazy, sochy a schránky, Brno Gallery CZ, Brno
1835:
1965 Sochy – reliéfy: 1948–1965, Galerie Václava Špály, Praha
1497:
Principles of Future Philosophy and Other Philosophical Works
1336:
exhibition of modern art at the Trade Fair Palace in Prague.
1322:
Memorial to the Jews of Vienna who were killed during the war
2555:
Pavla Melková: Zbyněk Sekal's studio at the National Gallery
2048:
2010 Years in days. Czech Art 1945–1957, Prague City Gallery
1847:
1971 Bilder und Skulpturen, Galerie im Griechenbeisl, Vienna
1475:, part of a collection of ten novels, Čs. Spisovatel, Prague
1054:(1965) assembled from ceramic blocks. From the symposium in
765:, 1958) and sculptures that take on the form of a building (
2045:
2010 New Sensitivity, National Art Museum of China, Beijing
942:(1973) as a tangle of brass wires, made during his time in
785:, 1963), sometimes on the surface structures of sculpture (
533:(1992–1993) and in a large retrospective exhibition at the
498:. During the winter of 1980–1981, he spent a study stay in
176:, and for the next three years until the end of the war in
2480:
Klimešová M, in: Zbyněk Sekal, 2015, pp. 283–284, 329, 506
2462:
Klimešová M, in: Zbyněk Sekal, 2015, pp. 272, 295, 497-498
2442:
Klimešová M, in: Zbyněk Sekal, 2015, pp. 230–244, 473, 480
2057:
2014 Best of artmark collection I, Galerie Artmark, Vienna
2035:
2007 Máj 57 Group, Prague Castle, Imperial Stables, Prague
1950:
1969 L'art tcheque actuel, Renault Champs - Élysées, Paris
1844:
1969 Skládané obrazy a sochy, Galerie Václava Špály, Praha
1838:
1965 Sochy – reliéfy: 1948–1965, Dům pánů z Kunštátu, Brno
2945:
Academy of Arts, Architecture and Design in Prague alumni
2583:
Klimešová M, in: Zbyněk Sekal, 2015, pp. 407–408, 523-527
2433:
Klimešová M, in: Zbyněk Sekal, 2015, pp. 257–258, 486-489
2316:
Klimešová M, in: Zbyněk Sekal, 2015, pp. 75, 136, 448–449
1889:
2015 A věci se zvolna berou před se, Muzeum umění Olomouc
2637:
museum moderner kunst stiftung ludwig wien: Zbynek Sekal
2298:
Klimešová M: Introduction, in: Zbyněk Sekal, 2015, p. 11
1959:
1971 Imago, Galerie im Greichenbeisl, Schloss Lengenfeld
769:, 1964). In the 1960s, his large-scale sculptures named
416:
From 1961 he had his own studio on Bělohorská Street in
1228:, where he visited the ethnographic collections at the
342:. He was invited as a guest to the first exhibition of
2870:
Zbyněk Sekal: Film posters, book covers, illustrations
2117:
Klimešová M: Biography, in: Zbyněk Sekal, 2015, p. 414
2019:
1997 Czech Imaginative Art, Rudolfinum Gallery, Prague
1983:
1989 Wo bleibst du, Revolution?, Museum Bochum, Bochum
447:
In the 1960s he participated in sculpture symposia in
306:) and especially in existentialism and phenomenology (
2236:
Klimešová M, in: Zbyněk Sekal, 2015, pp. 250–253, 485
1977:
1982 Künstler, Die kamen und blieben, Secession, Wien
1883:
2012 Skládané obrazy a schránky, Topičův salon, Praha
1362:(patinated plaster), 1962, National Gallery in Prague
521:
After 1989, his works were exhibited successively in
492:
Staatliche Akademie der Bildenden Künste in Stuttgart
2545:
Klimešová M, in: Zbyněk Sekal, 2015, p. 337, 508-510
2415:
Klimešová M, in: Zbyněk Sekal, 2015, pp. 98–102, 112
2162:
Klimešová M, in: Zbyněk Sekal, 2015, pp. 43, 437–438
1488:, anthology, SNKLHU, World Reading; Vol. 195, Prague
2334:
Klimešová M, in: Zbyněk Sekal, 2015, pp. 71–72, 463
2171:
Klimešová M, in: Zbyněk Sekal, 2015, p. 47, 441-443
2054:
2012 Czech Modern Art, Gallery of Fine Arts in Cheb
1726:, Etapa, Graphics 65, Contemporary Art from Austria
539:
National Gallery in Prague in the Trade Fair Palace
227:, who was preparing paintings for an exhibition in
120:
94:
84:
62:
37:
18:
2189:Klimešová M, in: Zbyněk Sekal, 2015, p. 58-60, 444
1781:Aleš South Bohemian Gallery in Hluboká nad Vltavou
1633:(1986), manuscript, the estate of Z. Sekal, Vienna
236:Academy of Arts, Architecture and Design in Prague
185:Academy of Arts, Architecture and Design in Prague
89:Academy of Arts, Architecture and Design in Prague
2013:1994 Focal Points of Rebirth, Prague City Gallery
1932:1966 Tokyo International Exhibition of Art, Tokyo
420:and in 1965 he had his first solo exhibitions in
2670:Zbyněk Sekal, MUO, Czech TV, 2015, youtube video
2518:Klimešová M, in: Zbyněk Sekal, 2015, pp. 103–104
2489:Klimešová M, in: Zbyněk Sekal, 2015, pp. 325–326
2471:Klimešová M, in: Zbyněk Sekal, 2015, pp. 356–361
2343:Klimešová M, in: Zbyněk Sekal, 2015, pp. 79, 155
2325:Klimešová M, in: Zbyněk Sekal, 2015, p. 142, 465
1740:, Prague - vertical strips made of ceramic tiles
2875:Czech literary translator´s guild: Zbyněk Sekal
2388:Klimešová M, in: Zbyněk Sekal, 2015, p. 97, 452
1965:1974 Neue Mitglieder der Wiener Secession, Wien
1856:1988 Bronzek, Zeichnungen, Neue Galerie, Vienna
1328:. In particular, he cut up and reassembled the
424:in Prague and House of the Lords of Kunštát in
411:Imaginative and Structural Abstraction movement
32:Zbyněk Sekal (1994), portrait by Eva Choung-Fux
2370:Klimešová M, in: Zbyněk Sekal, 2015, pp. 85–90
2307:Klimešová M, in: Zbyněk Sekal, 2015, pp. 27–30
1525:, SNKLU 1st ed., Prague, 1990 Primus, Prague,
1034:In 1964 Sekal created a plaster statue of the
545:Sekal found a deep resonance with his work in
1784:Central Bohemian Region Gallery in Kutná Hora
8:
2452:Zbyněk Sekal, Three Times Twenty, Three Rows
2424:Klimešová M, in: Zbyněk Sekal, 2015, pp. 468
2361:Klimešová M, in: Zbyněk Sekal, 2015, pp. 451
1566:, Odeon, Edition. Prestigious Club, Prague,
2574:Klimešová M, in: Zbyněk Sekal, 2015, p. 405
2565:Klimešová M, in: Zbyněk Sekal, 2015, p. 462
2536:Klimešová M, in: Zbyněk Sekal, 2015, p. 303
2527:Klimešová M, in: Zbyněk Sekal, 2015, p. 116
2509:Klimešová M, in: Zbyněk Sekal, 2015, p. 102
2406:Klimešová M, in: Zbyněk Sekal, 2015, p. 478
2397:Klimešová M, in: Zbyněk Sekal, 2015, p. 275
2379:Klimešová M, in: Zbyněk Sekal, 2015, p. 211
2227:Klimešová M, in: Zbyněk Sekal, 2015, p. 183
2209:Klimešová M, in: Zbyněk Sekal, 2015, p. 474
2126:Klimešová M, in: Zbyněk Sekal, 2015, p. 253
1805:Gallery of Modern Art in Roudnice nad Labem
1096:, which became one of the most outstanding
860:, 1962, bronze, Regional Gallery in Liberec
479:and in 1970 finally settled permanently in
2352:Klimešová M, in: Zbyněk Sekal, 2015, p. 82
2288:Zbyněk Sekal a Japonsko, Arbor Vitae, 2014
2256:Klimešová M, in: Zbyněk Sekal, 2015, p. 70
2218:Klimešová M, in: Zbyněk Sekal, 2015, p. 45
2180:Klimešová M, in: Zbyněk Sekal, 2015, p. 50
2153:Klimešová M, in: Zbyněk Sekal, 2015, p. 24
1901:2023 Zbyněk Sekal: Sekal 100, Museum Kampa
1862:1991 Scultore, Studio oni de Rossi, Verona
1133:Third Attempt to Simulate a Magical Object
702:, 1957, patinated plaster, GASK Kutná Hora
26:
15:
2648:Z výstavního sálu: Zbyněk Sekal, MUO 2015
602:Sekal maintained a close friendship with
444:and to acquire a small studio in Berlin.
355:, he was already thinking of leaving for
183:In 1945, he was accepted to study at the
137:he was imprisoned for three years in the
124:City of Vienna Prize for Sculpture (1984)
1895:2020 Zbyněk Sekal, Belvedere Museum Wien
1747:6 x 12 m, David Hansen House, Düsseldorf
1127:, 1977). During a painting symposium in
264:
2113:
2111:
2109:
2107:
2094:
2075:
1920:1965 Małarstwo a rzeźba z Pragi, Cracow
1808:Gallery of Modern Art in Hradec Králové
1802:North Bohemia Art Gallery in Litoměřice
1349:
1245:
1075:Left - a Slightly Different Possibility
956:
811:
674:
558:1984 City of Vienna Prize for Sculpture
2840:Information system abART: Zbyněk Sekal
2615:Moravian Gallery in Brno: Zbyněk Sekal
1832:1961 Sochy, galerie na Karlově náměstí
1817:Private collections at home and abroad
1437:, some published in Nový život journal
1224:in 1947 and deepened during a stay in
648:, 1956) and imaginative inspirations (
469:Warsaw Pact invasion of Czechoslovakia
143:Warsaw Pact invasion of Czechoslovakia
2604:National Gallery Prague: Zbyněk Sekal
1796:Gallery of the Capital City of Prague
1614:(1951), used as the final chapter of
1216:, which dates back to a visit to the
687:, 1957, bronze, Museum of Art Olomouc
567:Sekal's first drawings influenced by
409:and was one of the initiators of the
405:. In the early 1960s he was close to
7:
269:Zbyněk Sekal, reconstructed studio,
2798:Books and encyclopedias (selection)
1314:Variations on the Kritzendorf Stone
1038:imitating early medieval works for
490:From 1972 to 1974 he taught at the
370:(1959) and in 1961, with sculptors
223:. He also made the acquaintance of
1407:(box with steel cable), late 1980s
880:In the composed wire-mesh pieces (
612:Face with Surrealist Installations
508:City of Vienna Prize for Sculpture
14:
2935:Czechoslovak emigrants to Austria
2855:Prostor: Zbyněk Sekal (1923–1998)
2770:Collective catalogues (selection)
2626:Generali Foundation: Zbynek Sekal
1995:1991 Studio Toni de Rossi, Verona
1859:1990 Galerie Stubenbastei, Vienna
1433:Private translations of works by
616:The Lamentation of the Hanged Man
362:The following year he travels to
165:Comité de la democratie de España
2277:Sekal and Japan (in Czech), 2014
1412:
1397:
1382:
1367:
1352:
1293:
1278:
1263:
1248:
1019:
1004:
989:
974:
959:
893:A Scheme for Purposeful Activity
865:
850:
832:
814:
732:, 1957, patinated plaster, glass
722:
707:
692:
677:
234:He continued his studies at the
145:in August 1968, he emigrated to
2925:Members of the Vienna Secession
2920:20th-century Czech male artists
1989:1990 Galerie Stubenbastei, Wien
1649:1947 Viktor Dyk: The Pied Piper
875:, 1964, patinated plaster, iron
599:was close to him artistically.
1814:West Bohemian Gallery in Plzeň
1627:(1965), Výtvarné umění 1, 1966
984:(1960–65), Prague City Gallery
1:
2860:Czech TV: Zbyněk Sekal (2012)
1755:Representation in collections
1695:own – 1965, 1969, 1988, 1997,
1685:1969 revue Světová literatura
577:Mauthausen concentration camp
518:until the fall of communism.
178:Mauthausen concentration camp
139:Mauthausen concentration camp
1962:1974 Wiener Secession, Krems
1914:1964 Sculpture 1964, Liberec
1811:Gallery of Fine Arts in Cheb
1793:Benedikt Rejt Gallery, Louny
1738:Fairmont Golden Prague Hotel
1058:in 1966, he traveled to the
1790:Regional Gallery in Liberec
1766:Generali Foundation, Vienna
1460:Das Wesen des Christenthums
1288:, 1980s, private collection
1202:Box with an indicated cross
1027:Small Stone (Mauthausen) II
934:from the 1966 symposium in
440:scholarship offered by the
242:and in the studio of prof.
2961:
2940:Czech emigrants to Austria
2681:Belvedere 21: Zbyněk Sekal
2659:Artalk: Zbyněk Sekal, 2015
1760:National Gallery in Prague
1271:Box with four small boards
717:, 1957, private collection
506:. In 1984 he received the
1992:1991 Rupertinum, Salcburk
1865:1991 Rupertinum, Salcburk
1594:, 2008 Academia, Prague,
1586:, 2nd ed. Bonus A, Brno,
1480:Christian Dietrich Grabbe
1392:(1967), patinated plaster
1377:(1967), patinated plaster
969:, 60s, private collection
932:Little Stone (Mauthausen)
502:at the invitation of the
258:as part of Hrabal's book
201:Spořilov Surrealist group
174:Small Fortress in Terezín
25:
2199:Art UK: Barbara Pniewska
1799:Art Gallery Karlovy Vary
1787:Gallery Klatovy, Klenová
1763:Moravian Gallery in Brno
1012:Big Head (Self-Portrait)
471:, he emigrated first to
1716:Ladislav Novák (artist)
1326:Prague National Gallery
907:group, who worked with
844:National Gallery Prague
826:National Gallery Prague
824:, 1958, patinated tin,
652:, 1957). The sculpture
374:and Miloslav Hájek, to
271:National Gallery Prague
2499:Zbyněk Sekal, Untitled
1909:Collective (selection)
1098:brutalist architecture
1094:Intercontinental Hotel
1083:What Remains of Forest
899:'s notion of traffic (
842:, late 1950s, bronze,
353:August 1968 occupation
274:
2930:Czechoslovak refugees
2850:Artlist: Zbyněk Sekal
1778:Museum of Art Olomouc
1769:Museum Bochum, Bochum
1690:Exhibition catalogues
1674:Covers and typography
635:Head with Closed Eyes
428:. In 1966 he visited
268:
195:, Josef Lehoučka and
2246:Zbyněk Sekal: Berlin
1775:Rupertinum, Salzburg
1724:Stanislav Podhrázský
1625:Ralentir travaux LXV
1620:The Tender Barbarian
1422:(1992), plaster cast
1111:After emigrating to
982:Off the Beaten Track
930:The stone labyrinth
886:Off the Beaten Track
422:Václav Špála Gallery
260:The Tender Barbarian
193:Stanislav Podhrázský
2910:Czech male painters
2900:Artists from Prague
1578:Carl von Clausewitz
1472:In the Penal Colony
771:Unsteady Structures
672:, both from 1957).
620:The Unknown General
535:Prague City Gallery
442:Akademie der Künste
273:, Trade Fair Palace
262:(Petlice edition).
1564:(Die Blechtrommel)
1485:Don Juan und Faust
1330:Unsteady Buildings
1191:for the church in
1145:concentration camp
895:. By referring to
882:assembled pictures
608:The Man Who Smokes
403:Assembled Pictures
401:, which he called
395:Alina Szapocznikow
275:
211:Exhibition at the
199:. He rejoined the
172:in Prague, in the
2915:Czech translators
2730:Author catalogues
1704:Adolf Hoffmeister
1600:978-80-200-1598-3
1551:978-80-7108-312-2
1512:, Orbis, Edition.
1451:, Rovnost, Prague
1153:From Number Count
1056:Sankt Margarethen
936:Sankt Marghareten
656:(1957) refers to
382:. A classmate of
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1334:National Gallery
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1256:Box with a Cross
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1218:Musée de l'Homme
1044:Markéta Lazarová
1036:Crucified Christ
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791:Tortured Torture
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646:Centaur and Lady
593:cubist sculpture
512:National Gallery
504:Stedelijk Museum
496:Wiener Secession
340:Ludwig Feuerbach
280:military service
240:František Muzika
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66:24 February 1998
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1698:other artists (
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1522:Die Verwandlung
1447:Karl Liebknecht
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1390:Plant named O.'
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1318:H. P. Lovecraft
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1117:Screaming Mouth
1067:Please, No More
1060:Venice Biennale
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873:Little caves II
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715:Boy Blue Flower
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654:Boy Blue Flower
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453:St. Margarethen
388:Wagner's studio
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1286:Untitled (Box)
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1277:
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1254:
1247:
1157:58 × 58 = 3248
1073:'s paintings (
1032:
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1025:
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995:
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986:
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728:
721:
719:
713:
706:
704:
700:Screaming Head
698:
691:
689:
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676:
666:Screaming Head
650:Bearing Figure
627:Head of a Girl
564:
561:
560:
559:
554:
551:
510:. In 1995 the
464:
461:
457:Vyšné Ružbachy
451:(1964, 1965),
252:Bohumil Hrabal
213:Galerie Maeght
170:Pankrác Prison
159:
156:
154:
151:
126:
125:
122:
118:
117:
96:
95:Known for
92:
91:
86:
82:
81:
72:
70:(aged 74)
64:
60:
59:
56:Czechoslovakia
50:
39:
35:
34:
31:
23:
22:
19:
13:
10:
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6:
4:
3:
2:
2957:
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2833:
2828:
2825:
2822:
2819:
2816:
2814:80-902481-0-1
2812:
2809:
2807:2-9500702-1-3
2805:
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2797:
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2098:
2095:
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2079:
2076:
2070:
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2059:
2056:
2053:
2050:
2047:
2044:
2041:
2037:
2034:
2031:
2028:
2024:
2021:
2018:
2015:
2012:
2009:
2006:
2003:
2000:
1997:
1994:
1991:
1988:
1985:
1982:
1979:
1976:
1973:
1970:
1967:
1964:
1961:
1958:
1955:
1952:
1949:
1946:
1943:
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1937:
1934:
1931:
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1925:
1922:
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1916:
1913:
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1897:
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1713:
1709:
1708:Mikuláš Medek
1705:
1701:
1697:
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1689:
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1678:
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1668:
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1644:Illustrations
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1613:
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1592:80-85914-27-1
1589:
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1579:
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1573:
1572:80-207-0391-8
1569:
1565:
1563:
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1554:
1552:
1548:
1544:
1543:
1542:Katz und Maus
1538:
1534:
1532:
1531:80-900078-2-1
1528:
1524:
1523:
1518:
1514:
1511:
1510:
1505:
1504:Georg Büchner
1501:
1498:
1494:
1490:
1487:
1486:
1481:
1477:
1474:
1473:
1468:
1464:
1461:
1457:
1453:
1450:
1448:
1443:
1442:Walter Bartel
1439:
1436:
1432:
1431:
1427:
1421:
1415:
1410:
1406:
1400:
1395:
1391:
1385:
1380:
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1365:
1361:
1355:
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1331:
1327:
1323:
1319:
1315:
1311:
1302:
1296:
1291:
1287:
1281:
1276:
1273:, 1980s–1990s
1272:
1266:
1261:
1258:, 1980s–1990s
1257:
1251:
1246:
1244:
1242:
1238:
1233:
1231:
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1223:
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1215:
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1199:
1194:
1190:
1186:
1180:
1178:
1174:
1170:
1166:
1160:
1158:
1154:
1150:
1149:17 × 13 = 221
1146:
1142:
1138:
1134:
1130:
1126:
1122:
1118:
1114:
1109:
1107:
1103:
1102:Deutsche Bank
1099:
1095:
1090:
1088:
1084:
1080:
1076:
1072:
1071:Mikuláš Medek
1068:
1063:
1061:
1057:
1053:
1049:
1045:
1041:
1037:
1028:
1022:
1017:
1013:
1007:
1002:
998:
992:
987:
983:
977:
972:
968:
962:
957:
955:
954:(1977–1979).
953:
949:
945:
941:
940:Self-Portrait
937:
933:
928:
926:
922:
918:
914:
910:
906:
905:Confrontation
902:
898:
894:
889:
887:
883:
874:
868:
863:
859:
853:
848:
845:
841:
835:
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827:
823:
817:
812:
810:
808:
804:
800:
796:
792:
788:
784:
779:
777:
772:
768:
764:
760:
756:
753:(1923–1924) (
752:
748:
744:
740:
731:
725:
720:
716:
710:
705:
701:
695:
690:
686:
680:
675:
673:
671:
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659:
655:
651:
647:
642:
640:
636:
632:
628:
623:
621:
617:
613:
609:
605:
604:Mikuláš Medek
600:
598:
597:Fritz Wotruba
594:
590:
586:
583:, especially
582:
578:
574:
573:Expressionism
570:
562:
557:
556:
552:
550:
548:
543:
540:
537:in 1997. The
536:
532:
528:
524:
519:
517:
516:normalisation
513:
509:
505:
501:
497:
493:
488:
486:
482:
478:
474:
470:
462:
460:
458:
454:
450:
445:
443:
439:
435:
431:
427:
423:
419:
414:
412:
408:
404:
400:
396:
393:
389:
385:
381:
377:
373:
369:
365:
360:
358:
354:
349:
345:
341:
337:
336:Hermann Hesse
333:
329:
325:
321:
317:
313:
309:
305:
301:
297:
293:
292:Mikuláš Medek
289:
285:
281:
272:
267:
263:
261:
257:
253:
249:
245:
241:
237:
232:
230:
226:
222:
221:Jean Dubuffet
218:
214:
210:
206:
202:
198:
194:
190:
189:Mikuláš Medek
186:
181:
179:
175:
171:
166:
157:
152:
150:
148:
144:
140:
136:
132:
123:
119:
116:
112:
108:
104:
100:
97:
93:
90:
87:
83:
79:
75:
65:
61:
57:
53:
40:
36:
29:
24:
17:
2698:
2687:
2676:
2665:
2654:
2643:
2632:
2621:
2610:
2599:
2588:
2579:
2570:
2561:
2550:
2541:
2532:
2523:
2514:
2505:
2494:
2485:
2476:
2467:
2458:
2447:
2438:
2429:
2420:
2411:
2402:
2393:
2384:
2375:
2366:
2357:
2348:
2339:
2330:
2321:
2312:
2303:
2294:
2283:
2272:
2261:
2252:
2241:
2232:
2223:
2214:
2205:
2194:
2185:
2176:
2167:
2158:
2149:
2140:
2131:
2122:
2097:
2078:
1744:
1731:Realizations
1720:Zdeněk Palcr
1700:Eva Kmentová
1664:Book designs
1654:Film posters
1636:
1630:
1624:
1619:
1611:
1581:
1562:The Tin Drum
1560:
1557:Günter Grass
1540:
1537:Günter Grass
1520:
1507:
1496:
1483:
1470:
1459:
1445:
1428:Translations
1419:
1404:
1389:
1374:
1359:
1344:
1340:
1338:
1329:
1321:
1313:
1309:
1307:
1303:, after 1990
1301:Copper boxes
1300:
1285:
1270:
1255:
1240:
1237:Copper Cases
1236:
1235:A series of
1234:
1230:Tropenmuseum
1205:
1201:
1198:Mahogany Box
1197:
1181:
1176:
1172:
1168:
1167:figuration (
1161:
1156:
1152:
1148:
1140:
1132:
1124:
1120:
1116:
1110:
1091:
1082:
1078:
1074:
1066:
1064:
1035:
1033:
1026:
1011:
997:Firmly fixed
996:
981:
966:
939:
938:and Sekal's
931:
929:
925:Lévi Strauss
920:
916:
912:
904:
900:
892:
890:
885:
881:
879:
872:
857:
839:
821:
806:
802:
798:
794:
790:
786:
782:
780:
775:
770:
766:
762:
758:
754:
750:
742:
738:
736:
729:
714:
699:
684:
669:
665:
661:
653:
649:
645:
643:
634:
630:
626:
624:
619:
615:
611:
607:
601:
566:
544:
520:
507:
489:
466:
446:
415:
410:
402:
384:Zdeněk Palcr
372:Zdeněk Palcr
361:
347:
343:
316:Schopenhauer
276:
259:
238:under prof.
233:
200:
197:Zdeněk Palcr
182:
164:
161:
141:. After the
135:World War II
131:Zbyněk Sekal
130:
129:
115:translations
68:(1998-02-24)
48:12 July 1923
20:Zbyněk Sekal
2895:1998 deaths
2890:1923 births
1822:Exhibitions
1745:Wood Relief
1712:Jan Svoboda
1517:Franz Kafka
1509:Dantons Tod
1467:Franz Kafka
1449:gegen Krupp
1435:Franz Kafka
1214:black magic
1185:scaffolding
1165:post-Cubist
759:Dwelling II
745:comes from
581:surrealists
455:(1966) and
430:East Berlin
399:assemblages
386:from prof.
332:Franz Kafka
101:, objects,
2884:Categories
2717:Monographs
2089:References
1612:Abdication
1583:Vom Kriege
1346:their way.
1341:Abdication
1241:Copper Box
1189:tabernacle
1129:Eisenstadt
1106:Düsseldorf
1087:surrealism
917:Royal Walk
913:Palindrome
822:Dwelling I
803:Dissection
755:The Burrow
531:Bratislava
477:Düsseldorf
475:, then to
467:After the
296:Egon Bondy
288:translator
284:Bratislava
250:circle of
244:Emil Filla
217:l'Art Brut
209:Surrealism
111:typography
103:assemblage
44:1923-07-12
1420:Untitled'
1405:Untitled'
1343:attests:
1226:Amsterdam
1210:shamanism
1206:Labyrinth
1159:, 1993).
1141:The Cross
1137:Christian
1121:Dead Head
1052:Crucified
948:Christian
944:Stuttgart
897:Heidegger
809:, 1966).
778:, 1967).
685:Dead Head
670:Dead Head
639:Paul Klee
622:, 1959).
500:Amsterdam
487:in 1983.
463:1968–1998
368:Leningrad
348:Group Máj
344:Group Máj
328:Heidegger
308:Nietzsche
158:1923–1968
99:sculpture
85:Education
1631:Nautilus
1204:, 1992,
1193:Lustenau
1177:Untitled
1171:, 1988,
1155:, 1991,
1042:'s film
967:Untitled
952:Lustenau
909:Informel
807:Untitled
805:, 1963,
797:, 1957,
767:Dwelling
763:Dwelling
743:Dwelling
739:Dwelling
629:, 1957,
589:frottage
585:collages
407:Informel
300:Berdyaev
256:samizdat
107:painting
2712:Sources
2039:Jihlava
1637:Diaries
1375:Embryo'
1360:Plough'
1048:Gmunden
901:Betrieb
751:Der Bau
658:Novalis
449:Gmunden
434:Dresden
418:Břevnov
357:Austria
324:Jaspers
312:Husserl
304:Shestov
147:Austria
78:Austria
1598:
1590:
1570:
1549:
1529:
1173:Figure
1113:Vienna
1040:Vláčil
1029:, 1966
1014:, 1973
999:, 1967
840:Figure
799:Letter
795:Signal
787:Signal
776:Tangle
569:Cubism
553:Awards
481:Vienna
473:Berlin
380:Gdańsk
376:Warsaw
364:Moscow
229:Prague
121:Awards
74:Vienna
52:Prague
2071:Notes
1743:1970
1736:1968
1606:Texts
1576:1996
1555:1992
1535:1968
1515:1963
1502:1960
1491:1959
1478:1958
1465:1957
1454:1954
1440:1952
1222:Paris
1079:Truce
921:Truce
858:Limbs
747:Kafka
547:Japan
527:Opava
320:Freud
248:Libeň
225:Toyen
219:) by
205:Paris
1827:Solo
1596:ISBN
1588:ISBN
1568:ISBN
1547:ISBN
1527:ISBN
1310:Bust
1212:and
1169:Bust
1125:Hole
1119:and
730:Head
662:Bird
631:Bust
587:and
571:and
563:Work
523:Brno
438:DAAD
432:and
426:Brno
392:VŠUP
378:and
366:and
338:and
153:Life
63:Died
38:Born
2266:MCA
1618:´s
1220:in
915:I,
783:Dog
485:StB
390:at
330:),
2886::
2106:^
1722:,
1718:,
1714:,
1710:,
1706:,
1702:,
1580:,
1559:,
1539:,
1519:,
1506:,
1495:,
1482:,
1469:,
1458:,
1444:,
1151:,
1077:,
927:.
789:,
668:,
595:.
529:,
525:,
359:.
334:,
326:,
322:,
318:,
314:,
310:,
302:,
294:,
191:,
113:,
109:,
105:,
76:,
54:,
1196:(
46:)
42:(
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