Czech Women Artists in the Context of International Modernism

Martina Pachmanová
and Desi.fr iI Pra{uc
v\Fak!íšk,Laundeckopťnnllslooó Prazc l Acadefuy aÍArts, Aťťhi|eČlure
"
Les femmes artistes d'aujourd'hui: Czech Women
Artists in the Context of International Modernism
discourse of Czech modemism continues to be lintted
lt L\€ beginnins oÍthe tw€niieth century many wom.:n,s artists, movements ánd groups were founded a11 by many 8endel steŤeot}?es;ii usua]]y ]eans towards
..r'erEurope- Theiť inteťnationalacťivitiesculminated a harldful of genuine male "masters,"and, as such,pays
.jPecia]]y jn the inter-war peťiocLai]d so ii was in the almost no attention to the professionalisation of women
.iŤst Czechoslovak Republic. Alúrough work of most in the fine aťts' It is thelefoťe no surpdse that this dis..i r'omen altists who wořked and ljved in Czecho'
coulse puts aside soňe methodologica] questions that
can challenge the status of modernity and modernism
.]ovakia between the wals is most]y Íor8oiien todaý
.uch initiatives played an important role at both the on the one hnrlcl .Lnd the ťe]ationslrjpbetween ťhecentre
jomestlc and the inteťnaťona]leve] dL1řingthat time. arld
which is one of the key issues oÍ d,ris
Peliphery
InsieadoÍdiscussinS theh activitics in detail, my PapeI conJerence - on the other It is apparent that the concept
iiil1 concentuateon how the paradign of {'omen's art ofboth modernity al]d modernism is related to va ous
emancipatory tendencies,be it on the level ofcollectives
.rn help us to revise the established concept of Czech
odemísm, and, p€ r haps, to challenge the rneanin8 of (natiort, et}rnicgroups, women) or irrdivi duďs. IÍwe are
European modernisra in general.
to exPlore today the stafus oÍEast. and central EuloPean
The tit]e of my papel - Les Í|fi|nl|sartistes modem and avani-galde art with rcsPect to both idenťity
(Women Artists Today) is identica1 and regior, alisn, we should ackno '1edge that Phenomž'iujaurL1,hL|i
lfiih the titl€ of a text published at dle occasion of the ena such as "centre" and "periphery" are not defined
pýstala tý t,ar ých undrýň j ihosloLJanských, only thťoughgeo8raphica1boundaťies.fhere aťealso
Z!íI]ěrečná
.ufiu||skiťh a česko-slopeských (Fnral Exhibition of othel' ]essvisib]ebut none$eless simi]aJiyviab]e]in€ s oÍ
,,dlawn'
\\bmen Fine Aťtists fťom Yugoslavia, Romanla and demarcationthat are,io sPeak metaphodca]]ý
Czechoslovakia) that was presented in the Municipal
onto ihebodies ofciflzens accordhg to Senclerlethnicity,
in
l]rague
in
1939'
Its
autho!
the
alt
cťitic
House
VěIa co1our,oI even sexLra]oÍientaLion'What is centťalized
,,]b'lay,.,
Ulbanová, wrote in the exhjbition catalosue:
and whai is maŤgina]ized'and let us sticl. w.it}lthe ďs
artisls
can
not
be
uith
a
nerc
descťiptian
',.o|nÚ
aÍ cipline of alt history now - dePends not only on cÍite.ía
šatiÍied
.ningsseenin ntture' . , Theydo not ua í to c\[]imwamefi,s ťhataJe dliven by aesthetics,but a]so on those ťhata.e
jťt frsdpfo:{afi, afi(lbe thus asíde
ion thele eru|!:l|tistic mole de€ P 1y rcoted in vadous ideolo8ical mechanjsms
.nJomenk
Conte Lpanry
art gathercddt thís ar]d theí ,'id€niity politics,,, inc]ucling patÍiarchy.
:iť|clopnťfit...
a cal|ectiÍrc
eÍfoťt,
and shous alrcad!
The histolicál, sociď and political leasons íoťwhy
:Íhibiliox expÍesses
:oday'. ' so e ťhafictefistic
uhich
ca|np\efiÍ.fit
a|]d
most
scholaťsspecializcd in the alt both modern arld
Íť]Itu|ťs,
uithout uhiť|1this pictufe pre-modeťn of ťhjsťegionhave been immurre to the
.n|ich picturcoÍnodeÍnafÍ,a1,rd
jmpact oÍ
touldbe incomplete."1
sencler-orientedrevisior1ismin art histoŤyáre
Despite the significance, there is barely any trace very complex and complicated, and they certajnly lvould
of woménaltists in the history o{czech modem art' Thc merit a sPecia1ta]k'InsteadoÍnaming oťanalyzing Lhese
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:apun Bunrqrqxa 'ra^oarotr{pE s,uaruo't snoradsord
,íJalvululo]un
uou ]noqe sluaurn3're pe1roddns Ápo
- l11'^'l,sra{1o1o s1ro'lr a:olpaul Áq paMopPqsJa^o uauo
Y oNwvrivd vurvt{
LEs FlrNls
a(rsrs
D'auoLIRD lrur CzEcH Wo\EN ARTsrs rN rrt! CoNExr
but álso jn tenns of theiťdifference
cal ,,mascu1inity,,,
,,feminjnity.''
Even Jan Zrza\"ý, one of
fťoman idea] of
the mosi renowned czech m odem Painteťs,hurried wíth
an explanaiion o{why $roman,sactive pŤesencein aťti5
and crc]]ted
ý'..desjJable:,,TheLiÍeoÍa humanbeing is direcfeL1
dňL]eand reaso1l'
As
i11stincÍ
anll intellecÍ,
by Íuo\rcntÍorces:
tL|iL]e
oÍthis spLit,fensanpťepgiLs
in na , !1|tt1
aco sequl:nce
nl
Jandn
'
'
'
Thť
uav
of
apPrcnchi|sli,Í]e,
and
all
andÍeeLi1\
than th? |iÍc
íúner|iÍeaÍuofiafi is i1|its essenÚ]1JefylliÍÍťreú
ndťfitandins
lifc
thra113h
ínf|1iÍiall
Lead
l)vfeeling
oÍfia . U
,
to het dri|)es,uoman is d ÚeatuÍeclaseť
dnd hei\ obedienÍ
Man, uho daesnat\ixe
Íaniturc fl d shťis morenvsfer io11s,
rcProduce
\iÍe
fu
hínself,
has a.rerÍed
afid
cannat
bitÍh
Í|om
atwe. . .and prcjects his life a d consciousl'kssi to abstractia s oÍrenson' ' ' IÍeithe| oÍthefi fian o| uo]lLan are to
, , uofian intfoducťsin
mdkeany uo1+that is to suf.)i7Je'
it d cantent,uhíle ma crealesítsÍot|fi,. ' Thefeafe fiany
1t1amefi
in nodern liÍe )hoíakeo,ťr Íhctasksa d dutiesoÍ
c1llíuraL
de|)dopmťnt
ísat
en ifi public liÍe'It is l1siínÍhaÍ
etjstenceto ťense
dedde d' . ' Is ít the fieafib|g.! wo1na1t,s
bci!|gauoru ? (''')Thereisna more óblťtaskÍaÍheÍtha|l
this: to bea bith íi.reLptotecto|a|1dcfeatof oÍÍ,LtufellÍe- oÍ
Since the end of the nineteenth cenfuIý \^,henthe
first aticles and books apPeaŤednrl.]ectingthe role o{
women in aťtand culture,s there existed a poPu]ar notion
iiat womeďs abstract úinking and imagin ahon we.e not
s!fÍicienťlyand adequatelydeveloped, and thatwomen
authors thus depend mlrch more on viewed leality than
men- A]thou8h dxe idea that female alt is dedvative aňd
tied to imitaťion aud nimesis w hj Iem ale aŤtsPťings fÍom
imagjnation and abstlaction was based on very va8ue
and often mis]eadin8 scientific know1ed8e, mod€rn alt
critjcism was qúck to applop ate it. czech alt clitics
wele no excepťon.At d]e occasion of Malkéta Gott1ie
bová,s exhibition in Bťnoin 193&M' R. Carnmerel stat€ d
,,s
abiliryis
in the caia1o8uethat ilniÍi.antsťnsuil-concrcte
It needs
a co mon L1eanifiataÍoÍaLLÍealwamenaftists.,,6
to be emphasized that such 8eneÍalizin8and 8endel-bi,,pÍero8ative,,
on]y o{ conseÍvaased opjnion was not a
The
]oca]
debates about
tive criťic' súchas CarŤmeťeť.
modeťnism in visua] aťtdid not dwe]l excessively on
the dilemmabehveenrcalism and abstractionism,which
was ihe case,foťinstance,in Geťmany.And yet' itis appaJent that the fi8ulative tendencies that Ío]]owednot
only an o]del tťaditionof Western art but also some oÍ
the 1atenineteenth- and eaťly-twentieth-centurystyles
of INTRNAnoNAL MoDERN'SM
were conceived in sharp contŤastto a iluly modem sty]e.
They were considered acadernicand conservative.Mar
oI rťJi'|' rFo l 'J..'ci.|'or e\ ť r F\pre..ion.
8indIl,/d|ion
ist tendencies camot be interpreted as a Purely sexist
attack agaifft women alLlsts' It is true, howeveŤ, that
this was a domain oí many women aItlsts WoŤkrngi]r
(,,e(ho.|o\.]l:abetweer t].ett.r-' and .l' e dn é.gal.
ment about women s inclination to tradition as opPosed
to revo]útionwas usedby intellectualson eithel side of
the cultu ťal-Po]itica1spectrurn, the cjiteria of nrodemity
$,hen Kaťe]Tei$,
cannot be taken as gendel ]reutťa]one o{ the most Iadical Prcponents oÍDevětsi] senela,,Íhedeceií Ex?fes5iaflis1|1,,1111922,
tiory7 condernned
ď
he declared this sq'le to be histo cally anachronistic,
and á tyPica1si8n oÍboth Germanness and Jewishness.
He did not hesitate to throw onto one Pile unneeded
,,!rash,,,as he
Expťessionjst
Put it, and al] those who
did not sklťe his radical id€ a s, including - and let me
úncleťlinethis - women.s
Thc avant gaŤdercvolt againstthe tota]ityofbouŤgeois cultuře, its psycho-social mechanisms of domina
,,ii.stitution,, oÍart
tion, ar1d,]astbut n ot ]eas! agajnst the
itselt could have been ar, effecLiveideological weapon for
women against patťialchalconhol, especia]]ysince this
ťevo1iwasboIn in the contextofnew social movements,
inc1udin8 fenlinism. l{owe\,er,thank.sto a pŤoclajmed
crísis oÍ c]assicalaestheticsand an iconoclastic apPeal
whose u]timateaim was io meÍgeart arld ]ife,the avantgaťdeprosŤamwas vcly prob1ematicÍorwomen.on the
one hand, jt ofíercd úem the chance to paÍticipate in
deconshrctinS the canon that had excluded them in the
past fťomboth the pubiic spheÍeand the pIoduction of
,,cost1oPoLitaficonjÍater i
art' on the oťheťhancl sých a
Íy',,]imited theú endeaÝour to seaich foÍhi storica] foun
dations o{ their owr! Íemale tÍadition. In other wolds,
iÍ women wou]d have taken paIt in the Prccess of the
,,Iiquídalion
aÍai,,,Ia which rvas the ultimate goa] of the
Devětsil avant-gaíde, they would have to give Up both
aft and theil o\^.nheťita8e be|ore asseIting themselves
,1
aid discoveling
as art professioĎals,gaining the 7'7ť,,,
in history
lf\e Úace oÍ,,1[1!tilifta|iÍy,,
lt is thus one of the hjstoÍicalparadoxes ihat the
moment }then women, after decades oÍslnrg8]e,wele
finally acceptedin art academies,and startedto Publicly
exhibit theiÍ woŤk, ovellaPPed with the ávant talde,s
aitemPt to thlo\Ý oÍficial alt education and museums
overboard.If the deal of the Czech avant-gardewas, in
67
89
áapaap01
pu| a|ua!.s4]oqla pp{ )4] ut s]uap1)!3lI+
uoqou IEJrddloarstssrlJ) ,,rar!O,, aq] alDu8rsapot pasn t),,'1'!1]
/l+lr::q,pn )nai pLLau,]/l114
puÚ
uo$o aJPsLuFl eséL[]
}eq]uJnoBloJ aq}ou plnotls lŤ/ssau aau p?no\\t]D4]p1n)
-pJP'{\)Jeqpu€ /ssJuc^qe]llulí]nlss€ d Jo suoŤ}P]ouuoJ 1tnaslo sualx11tlul ualL 4+ml14tlnba1ý 4laal o1 uauon
lpnpt st
l.r:ar sauaqduad ap.qm'jluryparqBmor8 pue 'IBurBuo palqtuat11uu:! anbodgno
1u41
4,,:uoeLqr'|
fuuo
,a]LŤP}sLll
,a^qJ! sEuaas ^flPnsnaJ€ sallual atrurs
JoJ
,,.s]'4'10J 0]],ll -xa s,9^ol4laÍ Puazog Jo anžoP}PJ aq] ul
/,'
'3u14urq1aj
-rd+t|t,,
pue ,,selualtrtts
.ro1pquassa osp
€ r ofu{ ,E4í^qsoleÍ,uŤaq}
lbco7,,
Jo auo d]alJos aqr uL]rlarrŤala
sŤqJ!qÁ{ ,sJ lroqd ad pLLesaquJJ +noqEuoŤssnJsP (pasPlq a^rtP^resuoJe se uPLuom u alor aq1 Suqe'ra1c pur: 3u1
1o
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czlcH
WoM!N
AnTjsTs !N THL CoNT|XŤ o| tNTERNÁToNÁr
of actrve rnen and submissive women is well kno\ rn to
a]] of us.) IÍ wc 8athered at ihis conJerencero disc11ss
sPecific featuresof Eastern and centra]Euťopeanmod.
em and Post-waI aÍ! we should not Íoťgetthát the task
is not on]y to Iethjnk ihe Ťelationshipbetween the East
rnd rhp Wps.buL.rl-oto d an dllerfio'l l.r l^ou\'rriou'
colonjzing concePts have been woIking inside ouťle8ron
as well, alrd what imPact they had on the status ot authors
whose names cannot be found in a'ny book covering the
.leve]oPmentoímodem aťtin thjs Part oÍthe woŤIdWhile conducting research on Bender politics in
Czech modem aťLwhich was centra]to my rccently com
encoun teťedunknown
Pteted Cljsseltatjoryl6 I repeatedly
oI ignored mateía] s by women aItisls whose oeuvre was,
,,tladitiona1.,,of couÍSe,some oÍ
in avanř8arde tems'
this work has been Put aside quite ghtly by the "masteťnarrative.', Howevel, l found a significant amount
of work which calls Íor attention' not olíy flom the peÍspective oÍ8endeI, but ďso because iis visibifity has the
MoDrR\.'lg
,,PÍo8ressive', and
potential to change the notioň oÍwhat
],,"g,",.i..",, .o.'ia *"on and ímply in modeťnať!and'
mo;t imPortantlý could have arl impact on wÍitin8 ar]d
undeťsiandingthe discip]ine of alt history itseu'
Unlike elsewheÉ in Eastern and CentťalEuIoPe'
Czech inter-war modelnism was not an "all-male" busi
ness' Toy€ l l, tlrc on]y Íemalemember of the Devětsil
Surlealjst
]+oup and a lesPeďed lePťesentativeoÍ the
art
Czech
inovement, played a crucial roie in slraPing
'30s,
and her eťoticallychalged wolk
of the 1920sarld
as $.el] hel sexual olientation ceťtair y destabi]ize many
gPndťr.t( Poq pe. ']Ppticdlo moderni-|.l.\ť|' U.l|e''
,
*. r.'..-'.l'. ' on."n"uleo .|udy ldn d1|.aFu|o8y oÍ
a kjnd) that wou1d show the comPlexity of the aŤtistic
activities in ouŤťe8ionin the post- (but also pťe) 1918
era, inc1u.ting those related to ňon.avanřgarde l,i77l
remain
aIt w.i11PeťhaPs
'ťmillÍť,ouÍversion of modern
easy io 8TasPbut also ťemainan incomPlete historical
ploj€ c t - a myt}.
firsť
10' The Liquidation of aťtwas dedaÉd by Kďel Teige in the
1 věÍa U.bánová, Les femmes artisies d,aujourd,h i, in:
Mániíesto of Poelism in 1924.
Z d! ěÍečná t ýstaaa !ý fuah1ých uft ě]kýň i ihorlr Dafi kýrh, fi In un.
(Polcmicképoznánky) (With
1l'
KáťélTeigc,s novoll gcneťací
s\o\dských,PÍaba 193' pp' ]4 15 |catá]ogae]'
sých a čťskÓ
lhe New Gcneration:PoleÍnicNotco, Č9.ťž]v May.jln€
], Quoted in Vojtě.h ŠumaÍ' KŤuh výtvaÍných umělkyli
1921.
bult11t!
soudobé
uÚ1řnína výsÍa.oě
v PÍaze,in: Č.skos7oo.ísk'
hlha 1924,mpa8inated lcata'
12'
le]ílroíJa
!ďaslaý ]í1a,Božena
l] B//]ě(CzechoslovakArtat lhe Exhibilion of Contempoťary
losuel.
cúlLuťein Bmo), Brno ]92& p' 1ó [.!taloBue].
13.Ibiden.
]' o1gaBrodská, Výslava evťopskýchm.]iŤekv PaříŽi(Exhibi'
of the 1990s,the supremacyof theávant
tionoÍEulopeón Women PajntelsiÍ PaÍis),Ě.',193Z No' 11, 14'Sincethebegiming
garde has beenquestionedseveralťmeslry soln€ Czech art
;istorians ecl cuatos, such as in {hetwo'paťtshow of Cze.,
l ]m Zrzaví o Žcně (About woman), Knť'i tI, 19]9,No'2,
oÍthelg20s, oI in the gŤomd bleakng píojectLn
Nee.lússiťis1fl
p. 403.
eniitled G, ps in Hlstarv 1890'1938:me Polclnlc
Galtery
the Ciiy
] see Mďtina Pa.hmánová, Poh]aví aavántgďda: Diskurz
Euro|e Gemans, ,I.as, Crť./rr,to námc just
Ceflťrr|
spii ;f
scxÚaLity ve středoevrcpském umění od kon.. 19' Šk'etído
a few Álthough none oÍthes€ exhibiiionsdirectly addÍessed
Íoku1930(Gendcrand Avet.GaÍde: The Discouse of sexua1'
issues of gendel most oÍlhem inc]uded a nlmber ot rcma.k
iLy nr ceniTa]EÚropean Art flom the End ofthe Ninetéenth
áb1cand, foÍthe mosl párí toÍgoltenwomen arús6'
cent!Íy Unťi]1930),,4n'řl, 199E,No' 12,pp.2,10' This teit
(e.ls'),K?/d
]5 see fol instan.e Eric Dtuhoš- Rostis]ávŠvácha
sts originally wntten fol ihe 1998^m! ál Cón féÍenceo{ the
Camb-jd,ge
ADant
Gardc'
Íhe
CŽech
oÍ
L,nÍi Í ttttibk
Tťiť,c:
AssociationoÍArt HistoíáN at the Univelsity of ]rlymo!'th
(Mass.)1999
MďhÍa l'ácbmaíová, Ceidcťoaópali|ika čřkiho frodťťníha
]
6'
193E,
unpágiBmo
E'
c.itlřĎooí
M'ri.l'
]. M' 1t' CnmrereÍ,
' l'í(The Gender Po]iticsof Czech ModernAťt)' disserta'
nated lcaiab$e].
ťon defended in th€ spring oÍ 2003 at Charles UniveÍsity
Devčtsi],es|ab]ished in 1921,was ihe most imPoÍtant Czech
jn Prague; Fbiished uldet t|É nÍ|eNť.flinLí úzaní čťsk|ha
inteřwaÍ avanl.gar.l€ group.
nr|fu;ko 1;něflí:Pad hqau gť'delU (UnknowÍ TerntoÍi€s of
: sce KaI€ l Teige, oexpresionismu (on ExPÍcssionism),in:
czech ModeÍn Art: ThÍough th€ Looking G1a5sGendc',
Ro.flosÍ,17 atd 1E January ] 922'
PÍáha2004'
69