What was the situation in Prague Gallery in 1948, when you first took the post?
In 1984 there were already some changes happening, and you could feel that the process would go even deeper. I mean changes in politics, life and culture. On the other hand, people like sculptors Hána, Malejovský, Pankrác, and painters Jiroudek, Zábranský still had a big influence. These people were the core of the Union of Czechoslovakian Fine Artists and representatives of the establishment and its rigid ideology. The establishment certainly didn’t support and respect our endeavours concerning Czech modern art and its integration into the international context. These tendencies were marginalized even by the highly influential National Gallery. My predecessor D. Kotek , who was also the first Director of Prague City Gallery, was a sculptor and prioritized “manufacturing” memorial plaques and memorials. He had little interest in exhibiting and collecting art. The City Gallery was perceived as a marginal cultural institution by the public, but not so by the Union. Its members thought highly of commissions of sculptures. Until recently only insiders were aware of the fact that Prague City Gallery is actually in charge of the sculptures that stand on the Charles Bridge. The public has been currently reminded of this fact because of the outcry surrounding the issue of covering Jan Hus Monument by the Skoda advertising billboard.
What was the process of development of a “State” gallery like? In what respect have you been gaining recognition?
Of course, there was something to build on. The collections were quite extensive but their structure was problematic. In the course of the second half of the 19th century, the Municipal Council became patron of Czech art. Umělecká beseda (Art Party) was founded at that time, and it was also thanks to this organisation that art items were bought for prestigious premises. There were some good paintings such as those painted by Jaroslav Čermák, Brožík, or la Millet, but also many pieces representing bourgeois pomposity. It was only after the Gallery was nationalized that the collections grew in value. Also my standing was at first rather difficult. Support from the Council was negligible; our budget was reduced as was my salary. When I took up the post, the Gallery had an exhibition space in Old Town Hall but very soon the location proved to be quite problematic. The space had vaulted ceilings and structural challenges, it was closely watched over by conservationists and it couldn’t even be closed at night. We were in charge of Bílek Villa in Hradčany and of about 70 – 80 percent of all Prague’s monument and commemorative plagues. There were five art historians in the team, H. Rousová being the most important. Later on, she managed to pull in one of the most prominent experts in Czech modern art, F. Šmejkal. We managed to put on some great exhibitions that certainly won recognition, such as Czech Neoclassicism, Devětsil, Group Ra, Line Colour Form, and Grotesqueness in the 20th Century Art. On top of that, we managed to restore the permanent exhibition in Bílek Villa; this was thanks to another prominent art historian, M. Halířova. We also managed to acquire the other Bílek’s house that is called Chýnov Villa. By the end of the 90s, the financial situation of the Gallery had improved, and we were able to renovate the Villa and use it for an additional exhibition of early Bílek’s works. Another successful turn was the opening of the Gallery in Troja Château.
The building was renovated and extensive basement depositaries were built to store collections of paintings and sculptures. A permanent exhibition of 19th century paintings was placed on the ground floor and the first floor, and later on N. Blažíčková managed to supplement it with a few pieces borrowed from the National Gallery. The Château and the collections were received extremely well by the public. In spite of being opened only from April to October, it had more than 50,000 visitors. In addition, at the turn of the 90s we started exhibiting in the House at the Stone Bell, which later on became a very prestigious place. The interior of the house is a mixture of Gothic and Renaissance style. We held exhibitions there that mainly had some kind of connection to the classic modernism, and the tension of old and new worked really well. The development of Prague City Gallery had a clear plan. We had been meticulously working out how we installed collections into new buildings and were looking for finance well ahead. This was possible thanks to a good team of experts and the reliable economic manager S. Karlovska. Even the purchasing of collections was well thought through. We were buying works of A. Diviš, Filla, Drtikol, Kolář, Malich, M. Ponec Boudník, Toyen and commissioned the renovation of Pešánek’s kinetic and lighting sculptures. Compared to the present day this was not overly expensive. By and large it was a very important period for Prague City Gallery as it grew not only in size but also in quality...
Where were all these artworks before? In depositories, or somewhere else?
Some of them were and still are to be found in prestigious buildings of Prague City Council. Most of them were indeed stored in depositaries, which were horrible, although for its time, relatively safe. One example is a big first floor flat, or one of the deconsecrated churches in Prague. Once we gained the exhibition premises and depositary in the Municipal Library, the situation significantly changed. Fortunately enough, we managed to move the collection there shortly before the floods. I am of the opinion that it was thanks to our endeavour that we eventually managed to pressurise people in charge to build depositaries in Troja and to move valuable artworks there.
I think that permanent exhibitions should form a fundamental part of every big State gallery. It is important not only for culture, but also for community, history, and education. Last but not least, the public should be given the opportunity to see what is purchased.
In the 90s we opened another newly renovated property, the House at the Golden Ring in Ungelt, where we placed the most significant artwork from the 20th century City collections. Selected artworks made by young, contemporary artists were placed in the basement. In this way we managed to display a significant part of City Gallery’s collections. I left the Gallery a few years ago and, as far as I know, this exhibition was closed in the time when K. Srp was entrusted with the gallery’s management. Curiously enough, the same man was one of the founders of this exhibition. It is a shame as I think that it was a well designed exhibition that concentrated on artists whose art went far beyond Czech horizons, the artworks themselves were divided into well defined units. It would make more sense to keep it and make improvements by wisely thought-out purchases and long-term loans from other galleries. Other ways of how to bring more visitors would be by incorporating smaller exhibitions. The reason why I talk about it in such detail is because many people have already forgotten that Prague didn’t have a permanent exhibition of Czech modern art for nearly 20 years (for the duration of the 70s and 80s). Not only people working in the field but also the general public perceived this situation negatively. It wasn’t until the beginning of the 90s that this exhibition was established, at first in the building of Prague Castle Riding School (by J.Zemina), and then in Veletržní Palace, where it finally became permanent. Its current appearance became the target of criticism, especially for its vague integration of Czech modern art in a European context, and also for its unusually broad choice of current artists.
How strong is the reputation of Czech art abroad? And how strong are the foreign contacts?
There are quite a few of them, but the reality is lot more intractable than our imagination. That’s the nature of life, though. Only very occasionally someone asks us for a certain exhibition, and only artworks of renewed artists are actively sought after - Mucha, Kupka, Šíma, Malicha and few others. Other exhibitions, even those that we consider brilliant, are very hard to push through, and it sometimes takes even years. I have very often asked myself why nobody is interested in the exhibition of J. Zrzavy’s artwork. This famous Czech artist lived for quite a while in France and often visited Italy. As a result, the inspiration by Brittany and Venice is apparent in his artwork. The unique poetry of his pictures simply doesn’t work abroad... Regarding the younger generation of artists, their works annually appear in European and American private galleries. That’s all right, as this is how world artists usually establish themselves. We can expect that interest in Czech art will increase in the future. Prague City Gallery managed to introduce Contemporary Czech art abroad in prominent State and City galleries in Germany, Austria, France, as well as in Asia – North Korea and Taiwan. Judging from the local press, they met with success usually.