{"id":6916,"date":"2023-08-11T10:04:02","date_gmt":"2023-08-11T08:04:02","guid":{"rendered":"https:\/\/www.galerie.litomysl.cz\/uncategorized\/on-the-phenomenon-of-czech-botanical-illustration-in-the-20th-century-century\/"},"modified":"2024-03-19T14:12:00","modified_gmt":"2024-03-19T13:12:00","slug":"on-the-phenomenon-of-czech-botanical-illustration-in-the-20th-century-century","status":"publish","type":"post","link":"https:\/\/www.galerie.litomysl.cz\/en\/blog-en\/on-the-phenomenon-of-czech-botanical-illustration-in-the-20th-century-century\/","title":{"rendered":"ON THE PHENOMENON OF CZECH BOTANICAL ILLUSTRATION IN THE 20TH CENTURY"},"content":{"rendered":"\t\t
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The plant, charming with its different morphology and the colourful charm of its flowers, has always served as an object suitable for artistic representation. As the knowledge of the usefulness and medicinal effects of individual plants developed, the need to capture their form as faithfully as possible so that they could be found in nature according to these depictions grew.<\/span><\/p>\n<\/p>\n

In order for scientific illustration, or a scientific botanical illustration, to achieve its goal, i.e. to acquaint the viewer with the facts of science, its author should suppress in his artistic expression the subjective approach to the representation of a given scientific model. Based on a detailed examination of botanical depictions by the most important Czech botanical illustrators working during the 20th century, it can be concluded that the uniqueness and high quality of Czech botanical illustration is paradoxically based on the distinctive illustrative expressions of individual artistic personalities, which the Czech aesthetician and art theorist Du\u0161an \u0160indel\u00e1\u0159 groups under the unofficial term Czech Botanical School of Illustrators.[1]<\/a><\/span><\/p>\n<\/p>\n

\"\"<\/span>
Ji\u0159ina Kaplick\u00e1, Roses by Michele Meilland, 1966<\/span><\/figcaption><\/figure>\n<\/p>\n

The original Czech botanical illustration by Adolf Ka\u0161par can be seen in Franti\u0161ek Pol\u00edvka’s four-volume work Illustrative Flora of the Lands of the Czech Crown<\/em>, published between 1899 and 1904. It should be noted that the originality of Ka\u0161par’s illustrative accompaniment was a notable exception in the production of the time; it was more common to supplement Czech botanical works with pictorial appendices taken from proven German models [1].[2]<\/a><\/span><\/p>\n<\/p>\n

A great impulse for the Czech production of botanical illustration to move away from German models was the first publication of Josef M\u00e1nes’ botanical study drawings in 1940. M\u00e1nes depicted plants sensitively and factually, his pen drawings are dynamic and characterized by the use of shape abbreviations [2].[3]<\/a><\/span><\/p>\n<\/p>\n

The botanical illustrations of Karel Svolinsk\u00fd are considered to be the legacy of Josef M\u00e1nes’ botanical drawings. The collaboration between this artist and the botanist Franti\u0161ek Anton\u00edn Nov\u00e1k resulted in three volumes of botanical keys, Plants 1<\/em> (1935), Mountain Plants<\/em> (1937) and Plants 2<\/em> (1940) [3]<\/a>.<\/span><\/p>\n<\/p>\n

Anna Kavinov\u00e1-Schustlerov\u00e1 created her botanical illustrations on the basis of sensitive observation and a light, glaze-like handling of colour, while Franti\u0161ek Proch\u00e1zka, on the other hand, used pen drawing to record plants with scientific accuracy. Franti\u0161ek Severa mastered the technique of watercolour in his botanical illustrations, and in the field of natural history drawing he is considered the successor of such artists as V\u00e1clav Hollar, Anton\u00edn Navr\u00e1til, Josef M\u00e1nes and Karel Svolinsk\u00fd. His deep, richly coloured images have an almost magical effect [4].[5]<\/a><\/span><\/p>\n<\/p>\n

Ji\u0159ina Kaplicka’s illustrations of roses, cacti and flowering shrubs are objective and monumental. Kaplick\u00e1 crosses the boundaries of scientific illustration and her botanical depictions thus show features of a freer artistic creation. Particularly in the author’s illustrations of roses, one can notice her bravura handling of coloured watercolour valers, which she uses to sensitively distinguish the transparency of the flowers and their shiny or velvety matt surface interwoven with fine veining from the rich green of the stems and leaves [5].[6]<\/a><\/span><\/p>\n<\/p>\n

Similarly to the work of Ji\u0159ina Kaplicka, Ludmila Ji\u0159incov\u00e1’s botanical depictions are on the borderline between scientific and poetic, free illustration [6].[7]<\/a><\/span><\/p>\n<\/p>\n

Otto U\u0161\u00e1k’s illustrations [7],[8]<\/a> based on seemingly rough, generous brushstrokes, but with an atmospherically sparkling colouring, are contrasting. Otakar Zejbrl\u00edk concentrated in his pen drawings on the exact expression of plant structure. Kv\u011btoslav H\u00edsek, Karel Svolinsk\u00fd’s successor, on the other hand, approached his work with colour with delicacy, and he also handled his drawings with sensitive care [8].V\u011bra Ni\u010dov\u00e1-Urbanov\u00e1 and Ladislav Urban managed to reconcile the thin drawing, which records the striations of the surface, with a painterly detailed expression in their depictions [9<\/a> ].[10]<\/a><\/span><\/p>\n<\/p>\n

\"\"<\/span>
Vlasta Ni\u010dov\u00e1-Urbanov\u00e1, Prha arnika, 1980<\/span><\/figcaption><\/figure>\n<\/p>\n

Jind\u0159ich Krej\u010da found a balance between drawing and colour and complemented the depiction with pen-drawn details telling about the character of the plant. Vojt\u011bch \u0160tolfa complemented the pen drawing with an energetic hatch [10].[11]<\/a> Zdenka Krej\u010dov\u00e1, following the example of her teacher Karel Svolinsk\u00fd, emphasized linear drawing, filled with expressive watercolours. Anna Skoumalov\u00e1-Hada\u010dov\u00e1 and Jarmila Haldov\u00e1 demonstrated their unique observation skills and their ability to translate complicated structures into pen and ink drawings and make them understandable for a wide range of viewers.<\/span><\/p>\n<\/p>\n

Academic painter Zden\u011bk Sklen\u00e1\u0159 taught scientific illustration in his studio at the Academy of Fine Arts in Prague during the 1970s and 1980s The work of Sklen\u00e1\u0159’s graduates, including Pavel Dvorsk\u00fd, Eva Ha\u0161kov\u00e1 and Petr Melan, is similar to each other in terms of fine execution and high professional sophistication.<\/span><\/p>\n<\/p>\n

So as we can see, for domestic authors of botanical illustration of the 20th century, creative variability is typical. However, this in no way has a negative impact on the factuality and the resulting cognitive function of the resulting botanical illustrations.<\/span><\/p>\n<\/p>\n

At the end of our short introduction to the phenomenon of Czech botanical illustration of the 20th century, we can mention how the botanical illustrator proceeds in practice. Artists did not always use a living plant as the only model; some used older botanical depictions as a source of inspiration during the illustration process, while other artists used photographs as a source of inspiration. Sometimes the illustrators relied only on herbarium items or collection materials. In such cases, they had to revive their faded images and essentially bring them back to life, which was certainly a creative challenge for them.<\/span><\/p>\n<\/p>\n

\n

[1]<\/a> \u0160INDEL\u00c1\u0158, Du\u0161an. Scientific Illustration in Bohemia<\/em>. Prague: Obelisk, 1973, pp. 60<\/span><\/p>\n<\/p>\n

[2]<\/a> [1] Adolf Ka\u0161par, The Yellow Stork<\/em>, illustration to the work: POL\u00cdVKA, Franti\u0161ek. An illustrative flora of the Czech Crown Lands, including also the more prominent foreign plants grown in our country for utility and ornament<\/em>. Illustrated by Adolf KA\u0160PAR. In Olomouc: Published by R. Promberg, 1900, pp. 59.<\/span><\/p>\n<\/p>\n

[3]<\/a> [2] Josef M\u00e1nes, Sunflower and Cornflower<\/em>, coloured pen and pencil drawing, 50,2 x 33,5 cm, unmarked, National Gallery in Prague, inv. \u010d. 2100. The information about M\u00e1nes’ original drawing is taken from the list of drawings published in NOVOTN\u00dd, Vladim\u00edr; HALAS, Franti\u0161ek; PR\u00c1T, Silvestr. Josef M\u00e1nes: Flowers<\/em>. Prague: Orbis, 1940.<\/span><\/p>\n<\/p>\n

[4]<\/a> [3] Karel Svolinsk\u00fd, Alpine Bell – Mountain Plants<\/em>, 1937, pen and watercolour drawing, paper, 20,4 x 14,3 cm, unmarked, Museum of Art Olomouc, inv. \u010d. K 10697.<\/span><\/p>\n<\/p>\n

[5]<\/a> [4] Franti\u0161ek Severa, Topolovka r\u016f\u017eov\u00e1<\/em>, illustration to the work: JIR\u00c1SEK, V\u00e1clav and Franti\u0161ek STAR\u00dd. Atlas of medicinal plants<\/em>. Illustrated by Franti\u0161ek SEVERA. Prague: SPN, 1986, p. 102.<\/span><\/p>\n<\/p>\n

[6]<\/a> [5] Ji\u0159ina Kaplick\u00e1, Roses by Mich\u00e8le Meilland<\/em>, illustration for the work: SVOBODA, Pravdomil. Beautiful Roses<\/em>. Illustrated by Ji\u0159ina KAPLICK\u00c1. London: Artia, 1966, pp. 63.<\/span><\/p>\n<\/p>\n

[7]<\/a> [6] Ludmila Ji\u0159incov\u00e1, Poppy<\/em>, illustration to the work: JIR\u00c1SEK V\u00e1clav and ZADINA Rudolf. Our poisonous plants<\/em>. Illustrated by Ludmila JI\u0158INCOV\u00c1. Prague: CSAV, 1957, tab. 88.<\/span><\/p>\n<\/p>\n

[8]<\/a> [7] Otto U\u0161\u00e1k, Water lily<\/em>, illustration to the work: PIL\u00c1T, Albert. A pocket atlas of plants<\/em>. Illustrated by Otto U\u0160\u00c1K. Prague: SPN, 1963, p. 13.<\/span><\/p>\n<\/p>\n

[9]<\/a> [8] Kv\u011btoslav H\u00edsek, Marigold<\/em>, illustration to the work: THURZOV\u00c1, \u013dudmila. A small atlas of medicinal plants<\/em>. Illustrated by Kv\u011btoslav H\u00cdSEK and Karel SVOLINSK\u00dd. Martin: Osveta, 1984, p. 185. <\/span><\/p>\n<\/p>\n

[10]<\/a> [9] Vlasta Ni\u010dov\u00e1-Urbanov\u00e1, Prha arnika<\/em>, illustrations to the work: P\u0158\u00cdHODA, Anton\u00edn. Healing plants<\/em>. Illustrated by V\u011bra NI\u010cOV\u00c1-URBANOV\u00c1 and Ladislav URBAN. Prague: SNZ, 1980, p. 176.<\/span><\/p>\n<\/p>\n

[11]<\/a> [10] Vojt\u011bch \u0160tolfa, The Many-coloured Pry\u0161ec<\/em>, illustration to the work: TOME\u010cEK, Jarom\u00edr and CHYTR\u00c1, Magdal\u00e9na. Thermophilic flora of South Moravia<\/em>. Illustrated by Vojt\u011bch \u0160tolfa. Brno: SVAN, 1996, p. 33.<\/span><\/p>\n

Author of the text: Mgr. Jana Koskov\u00e1, Municipal Gallery Litomy\u0161l<\/p><\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

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