Šumava: Alfred Kubin / Josef Váchal

In association with the West-Bohemian Gallery in Pilsen 

An innovative full-colour pictorial book from the authors Hana Klínková, Marie Rakušanová and Ivana Jonaková provides for the first time well-balanced information about two exceptional artists and their work related to the Šumava Mountains – a renowned Austrian-Czech illustrator, draughtsman and writer, Alfred Kubin (1877-1959) and a Czech painter, graphic artist, woodcarver, typographer, photographer, writer and poet, Josef Váchal (1884-1969), whose endeavours have lately earned well deserved recognition in the Czech Republic. An opening study by Hana Klínková (Alfred Kubin, Josef Váchal and Šumava) is concerned with the fated, yet distant interconnection that existed between Kubin and Váchal through their love of the Šumava Mountains. In spite of the fact that they did not know each other, they shared a mutual respect and admiration for one another. Throughout their life and work many unbelievable parallels and fascinating resonances can be found. During their original and lonesome life journeys they drew inspiration from similar sources – vivid imagination, imagination and romanticism, the realm of dreams, mysticism and visions. The work of both authors has been very strongly influenced by the Šumava phenomenon; the most eloquent is the striking resemblance between Kubin’s Fantasies in the Boehmerwald cycle and Váchal’s Gabreta Dying and Romantic. Marie Rakušanová’s essay, entitled Alfred Kubin’s “Excited Calmness”, in which she emphasises his extremely deep interest in Czech art and culture, is dedicated solely to Kubin. The author sums up the state of Kubin related research in the field of art history and touches on its philosophical starting points and views. Ivana Jonáková closes the textual part of the publication with her contribution entitled the Beauty and Dread in Josef Váchal’s Landscapes. She reminds us of the importance of landscape-painting, which was present at the very beginning of Váchal’s artistic path, mentioning the artist’s strong relationship to nature as well as the influence of the painter Alois Kalvoda, late German romanticism, Munch and expressionism. As a key point, however, the author considers both Váchal’s decision to concentrate predominantly on woodcarving and the inspiration stemming from poetry, in which the artist discovered “ready made painted pictures”. While working on this unique publication the authors compiled extensive source material. Due to this, a number of previously unknown interesting details from the private lives of both these solitary authors came to light, and are mirrored in their works. It is an attractive book dealing with an attractive theme, completed with 150 colour reproductions, two of which are in full-page format. The final section of the book consists of the artists’ biographies with documentary photographs and an index of pictures.