{"id":121765,"date":"2024-07-10T23:05:00","date_gmt":"2024-07-10T21:05:00","guid":{"rendered":"http:devel.artlist.cz\/artist\/demartini-2\/"},"modified":"2026-05-20T23:31:42","modified_gmt":"2026-05-20T21:31:42","slug":"hugo-demartini","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/hugo-demartini\/","title":{"rendered":"Demartini"},"featured_media":0,"template":"","class_list":["post-121765","artist","type-artist","status-publish","hentry"],"acf":{"nicknames":"","date_born":1931,"date_death":2010,"place_born":"Prague","lives":"","web":"","idatum":"","address":"","email":"","phone":"","biography":"Studies\r\n1949-1953 Academy of Fine Arts, atelier of Jan Lauda\r\n1948-1949 Higher School for Sculptors, Prostejov\r\n\r\nEmployment:\r\n1989-1996 head of the sculpture stdio at the Academy of Fine Arts, Prague\r\n","groups":[121099],"membership":"","exhibitions_solo":"2008\r\nAkce a prom\u011bna geometrick\u00e9 skladby, Topi\u010d\u016fv salon, Praha\r\n\r\n2007\r\nKlub Galerie V kapli, Brunt\u00e1l\r\n\r\n2006\r\nHugo Demartini a klasick\u00e1 tradice, Galerie Benedikta Rejta, Louny\r\nBomb\u00edrovan\u00e9 kresby 1960-62, Minigalerie 6.15, Zl\u00edn\r\n\r\n2005\r\nP\u0159\u00edpravn\u00e9 modely, Galerie Benedikta Rejta, Louny\r\nObjekty \u0161edes\u00e1t\u00fdch let, Galerie Montanelli, Praha\r\nObjekty, St\u00e1tn\u00ed hrad a z\u00e1mek Jind\u0159ich\u016fv Hradec\r\n\r\n2004\r\nKol\u00e1\u017ee, kresby, objekty, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Chebu, Kabinet grafiky a kresby\r\n\r\n2003\r\nGalerie Pecka, Praha\r\n\r\n2002\r\nGal\u00e9ria Komart, Bratislava\r\n\r\n2000\r\nRetrospektiva, Oblastn\u00ed galerie v Liberci\r\nAkce a prom\u011bna geometrick\u00e9 skladby, St\u00e1tn\u00ed galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Chebu\r\n\r\n1999\r\nHD 1965 - 1975, Galerie V\u00e1clava \u0160p\u00e1ly, Praha\r\nTvorba z let 1965 - 1975, Galerie Aspekt, Brno\r\n\r\n1995\r\nGalerie MK, Ro\u017enov pod Radho\u0161t\u011bm\r\n\r\n1994\r\nTvorba z let 1958 - 1978, D\u016fm um\u011bn\u00ed, Ostrava\r\nD\u016fm um\u011bn\u00ed m\u011bsta Brna\r\n\r\n1992\r\nV\u00fdb\u011br z d\u00edla z let 1980 a\u017e 1991, M\u00e1nes, Praha\r\n\r\n1991\r\nD\u00edlo 1964 - 1974, D\u016fm U Kamenn\u00e9ho zvonu, GHMP, Praha\r\n\r\n1988\r\nHugo Demartini: Objekty, Ji\u0159\u00ed Sozansk\u00fd: Obrazy, Lidov\u00fd d\u016fm, Praha\r\n\r\n1986\r\nHugo Demartini, Pavel Ne\u0161leha. Projekty, VS Atrium, Praha\r\n\r\n1971\r\nPlastiky 1964 - 1970, Galerie Benedikta Rejta, Louny\r\n\r\n1966-1967 Akce a prom\u011bna geometrick\u00e9 skladby, Galerie na Karlov\u011b n\u00e1m\u011bst\u00ed, Praha\r\n\r\n1963\r\nKrajsk\u00fd projektov\u00fd \u00fastav, Praha","exhibitions_group":"2010\r\nNew Sensitivity, National Art Museum of China, Beijing\r\n\r\n2005\r\nPriv\u00e1tn\u00ed pohled (Sb\u00edrka Josefa Chloupka), D\u016fm p\u00e1n\u016f z Kun\u0161t\u00e1tu, Brno\r\nProstor a \u010das, GMU v Roudnici nad Labem\r\n\r\n2004\r\nUm\u011bn\u00ed je abstrakce: \u010cesk\u00e1 vizu\u00e1ln\u00ed kultura 60. let, Staatliches Museum f\u00fcr angewandte Kunst, Mnichov\r\nEjhle sv\u011btlo, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha\r\n\u0160edes\u00e1t\u00e1 \/ The sixties, Ze sb\u00edrky Galerie Zlat\u00e1 husa v Praze, D\u016fm um\u011bn\u00ed m\u011bsta Brna, Brno\r\nBl\u00edzk\u00e1 vzd\u00e1lenost\/ K\u00f6zeli t\u00e1vols\u00e1g\/ Proximate Distance, Szent Istv\u00e1n Kir\u00e1ly M\u00fazeum, Sz\u00e9kesfeh\u00e9rv\u00e1r\r\n\r\n2003\r\nEjhle sv\u011btlo, Moravsk\u00e1 galerie v Brn\u011b\r\nUm\u011bn\u00ed je abstrakce: \u010cesk\u00e1 vizu\u00e1ln\u00ed kultura 60. let, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha\r\nSv\u011bt jako struktura, Struktura jako obraz, Z\u00e1mek Klenov\u00e1, Klenov\u00e1\r\n\r\n2001\r\nBarevn\u00e1 socha, Severo\u010desk\u00e1 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Litom\u011b\u0159ic\u00edch\r\n\r\n2000\r\n100 + 1 um\u011bleck\u00fdch d\u011bl z dvac\u00e1t\u00e9ho stolet\u00ed, D\u016fm U \u010dern\u00e9 Matky Bo\u017e\u00ed, \u010cMVU Praha\r\nSou\u010dasn\u00e1 minulost: \u010cesk\u00e1 postmodern\u00ed moderna 1960-2000, AJG Hlubok\u00e1 nad Vltavou\r\nJubilejn\u00ed v\u00fdstava Akademie v\u00fdtvarn\u00fdch um\u011bn\u00ed 1800-2000, Vald\u0161tejnsk\u00e1 j\u00edzd\u00e1rna, Praha\r\n\r\n1999\r\nAkce, slovo, pohyb, prostor - experimenty v um\u011bn\u00ed \u0161edes\u00e1t\u00fdch let, M\u011bstsk\u00e1 knihovna, GHMP, Praha\r\nUm\u011bn\u00ed zrychlen\u00e9ho \u010dasu. \u010cesk\u00e1 v\u00fdtvarn\u00e1 sc\u00e9na 1958 - 1968, \u010cMVU Praha\r\n\r\n1996\r\nI. nov\u00fd zl\u00ednsk\u00fd salon, Zl\u00edn\r\nV prostoru 20. stolet\u00ed, \u010cesk\u00e9 um\u011bn\u00ed ze sb\u00edrky Galerie hlavn\u00edho m\u011bsta Prahy, M\u011bstsk\u00e1 knihovna \r\nUm\u011bn\u00ed zastaven\u00e9ho \u010dasu, \u010cMVU Praha\r\n\r\n1994\r\nNov\u00e1 citlivost, SGVU Litom\u011b\u0159ice, OGV Jihlava, D\u016fm um\u011bn\u00ed, Opava, Moravsk\u00e1 galerie v Brn\u011b\r\nOhniska znovuzrozen\u00ed, M\u011bstsk\u00e1 knihovna, GHMP Praha\r\n\r\n1993 Z\u00e1znam nejrozmanit\u011bj\u0161\u00edch faktor\u016f\u2026 \u010cesk\u00e9 mal\u00ed\u0159stv\u00ed 2. poloviny 20. stolet\u00ed ze sb\u00edrek st\u00e1tn\u00edch galeri\u00ed, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha\r\nP\u0159\u00edb\u011bhy bez konce, Princip s\u00e9rie v \u010desk\u00e9m v\u00fdtvarn\u00e9m um\u011bn\u00ed, MG Brno,  NG Praha\r\nPoesie racionality. Konstruktivn\u00ed tendence v \u010desk\u00e9m v\u00fdtvarn\u00e9m um\u011bn\u00ed \u0161edes\u00e1t\u00fdch let, Vald\u0161tejnsk\u00e1 j\u00edzd\u00e1rna, Praha\r\n\r\n1992\r\nMinisalon, Galerie Nov\u00e1 s\u00ed\u0148, Praha\r\nSituace 92, M\u00e1nes, Praha\r\n\r\n1991\r\n\u010cesk\u00fd informel: Pr\u016fkopn\u00edci abstrakce z let 1957 - 1964, Praha\r\nTradition und Avantgarde in Prag, Kunsthalle Dominikanerkirche, Osnabr\u00fcck\r\n\u0160ed\u00e1 cihla 78\/1991, Galerie U B\u00edl\u00e9ho jednoro\u017ece v Klatovech, Galerie Klatovy \/ Klenov\u00e1\r\n\r\n1990\r\nPocta um\u011blc\u016f Jind\u0159ichovi Chalupeck\u00e9mu, M\u011bstsk\u00e1 knihovna, Praha\r\nZaostal\u00ed, Galerie Nov\u00e1 s\u00ed\u0148, Praha\r\nNov\u00e1 skupina. M\u011bstsk\u00e1 knihovna, Praha\r\nZaostal\u00ed, Lidov\u00fd d\u016fm, Praha\r\nKonstruktivn\u00ed tendence \u0161edes\u00e1t\u00fdch let, Severo\u010desk\u00e1 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Litom\u011b\u0159ic\u00edch, SG v Praze \r\n\r\n1988\r\nForum 1988, Hole\u0161ovick\u00e1 tr\u017enice, Praha\r\n\r\n1983\r\nDas Prinzip Hoffnung. Aspekte der Utopie in der Kunst und Kultur des 20. Jahrhunderts, Museum Bochum\r\nProstor, architektura, v\u00fdtvarn\u00e9 um\u011bn\u00ed, V\u00fdstavi\u0161t\u011b \u010cern\u00e1 Louka, Ostrava\r\n\r\n1981\r\nNetvo\u0159ice \u00b481, D\u016fm Bed\u0159icha Dlouh\u00e9ho, Netvo\u0159ice (Bene\u0161ov)\r\n\r\n1979\r\nBed\u0159ich Dlouh\u00fd: Kresby a obrazy, Hugo Demartini: Plastiky, Zden\u011bk Ziegler: Plak\u00e1ty,Bechy\u0148sk\u00e1 br\u00e1na, T\u00e1bor\r\n\r\n1972\r\n50 Jahre Konstruktivismus in Europa, Galerie Gmurzynska, Kol\u00edn nad R\u00fdnem\r\nKonstruktive Kunst aus der Tschechoslowakei, Galerie im Erker, Sankt Gallen\r\n\r\n1970\r\nKonfrontace I, Galerie Nova, Praha\r\nKlub konkr\u00e9tist\u016f, D\u016fm p\u00e1n\u016f z Kun\u0161t\u00e1tu, Brno\r\nDemartini, Kratina, Kub\u00ed\u010dek, Malich, S\u00fdkora, Al\u0161ova s\u00ed\u0148 v Klubu skladatel\u016f, Praha\r\nTschechische Skulptur des 20. Jahrhunderts, von Myslbek bis zur Gegenwart,Schlo\u00df Charlottenburg, Berl\u00edn\r\n\r\n1969\r\n15 Arte contemporanea in Cecoslovacccia, Galleria Nazionalle d\u00b4Arte Moderna, San Marino\r\nKonstruktivismens Ars, Sonja Henies Og Niels Onstads Stiftelser, Oslo\r\nBiennale N\u00fcrnberg 1969. Konstruktive Kunst. Elemente und Prinzipien, Kunsthalle N\u00fcrnberg\r\n\r\n1968\r\nContemporary Czechoslovakian Art, Jacques Baruch Gallery, Chicago\r\n5 K\u00fcnstler aus Prag, Galerie Dr. H. Becher, Medebach, Galerie Club Paderborn\r\nKlub konkr\u00e9tist\u016f a host\u00e9, Oblastn\u00ed galerie Vyso\u010diny v Jihlav\u011b\r\nNov\u00e1 citlivost. K\u0159i\u017eovatka a host\u00e9. D\u016fm um\u011bn\u00ed m\u011bsta Brna, D\u016fm kultury pracuj\u00edc\u00edch \u00dast\u00ed nad Labem, Galerie um\u011bn\u00ed Karlovy Vary, M\u00e1nes Praha\r\nAlternative attuali III. Rassegna internazionale d\u00b4arte contemporanea. Aspetti della nuova scultura in Europa, Castello Spagnolo, L\u00b4Aquila\r\nSculpture tch\u00e8coslovaque de Myslbek \u00e0 nos jours, Mus\u00e9e Rodin, Pa\u0159\u00ed\u017e\r\n\r\n1967\r\nKonstruktive Tendenzen aus der Tschechoslowakei, Studio Galerie der Johann Wolfgang Goethe Universit\u00e4t, Frankfurt am Main\r\nModerne Kunst aus Prag, Caroline-Mathilde-R\u00e4ume im Celler Schlo\u00df, Celle, Wilhelm-Morgner-Haus, Soest, Schleswig-Holsteinischer Kunstverein, Kiel\r\nKonstruktivn\u00ed tendence, Galerie Benedikta Rejta, Louny\r\nVI. Biennale d\u2019Arte Repubblica di San Marino. Nuove tecniche d\u2019immagine, Palazzo dei Congressi, San Marino\r\nJeden okruh volby, Okresn\u00ed muzeum P\u00edsek\r\n\r\n1966\r\nTv\u016fr\u010d\u00ed skupina Um\u011bleck\u00e1 beseda, M\u00e1nes, Praha\r\nKonstruktivn\u00ed tendence, GVU Roudnice nad Labem\r\nNov\u00e9 cesty. P\u0159ehl\u00eddka sou\u010dasn\u00e9 avantgardy, D\u016fm um\u011bn\u00ed Gottwaldov\r\nJarn\u00ed v\u00fdstava, M\u00e1nes, Praha\r\nKonstruktivn\u00ed tendence, OGV Jihlava\r\nTschechoslowakische Kunst der Gegenwart, Akademie der K\u00fcnste, Berl\u00edn\r\nAktu\u00e1ln\u00ed tendence \u010desk\u00e9ho um\u011bn\u00ed. Obrazy, sochy, grafika, Praha\r\nV\u00fdstava mlad\u00fdch, D\u016fm p\u00e1n\u016f z Kun\u0161t\u00e1tu, Brno\r\n\r\n1965\r\nV\u00fdstava mlad\u00fdch, V\u00fdstavn\u00ed s\u00ed\u0148 \u00daLUV , Praha\r\n\r\n1964\r\nUm\u011bleck\u00e1 beseda, M\u00e1nes, Praha\r\nSocha 1964, Liberec\r\n\r\n1958\r\nUm\u011bn\u00ed mlad\u00fdch v\u00fdtvarn\u00edk\u016f \u010ceskoslovenska 1958, D\u016fm um\u011bn\u00ed m\u011bsta Brna\r\n\r\n1956\r\nV\u00fdstava Grekovova studia Sov\u011btsk\u00e9 arm\u00e1dy a \u010deskoslovensk\u00fdch v\u00fdtvarn\u00fdch um\u011blc\u016f, Praha\r\n\r\n1955\r\nII. krajsk\u00e9 st\u0159edisko Um\u011bleck\u00e1 beseda, Praha \r\n\r\n1953\r\n2. p\u0159ehl\u00eddka \u010deskoslovensk\u00e9ho v\u00fdtvarn\u00e9ho um\u011bn\u00ed 1951 - 1953, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha\r\n\r\n1958\r\nUm\u011bn\u00ed mlad\u00fdch v\u00fdtvarn\u00edk\u016f \u010ceskoslovenska 1958.  J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha","realizations_other":"","collections":"Al\u0161ova jiho\u010desk\u00e1 galerie v Hlubok\u00e9 nad Vltavou\r\nCentre Georges Pompidou, Pa\u0159\u00ed\u017e\r\nGalerie Benedikta Rejta, Louny\r\nGalerie hlavn\u00edho m\u011bsta Prahy\r\nGalerie modern\u00edho um\u011bn\u00ed v Hradci Kr\u00e1lov\u00e9\r\nGalerie St\u0159edo\u010desk\u00e9ho kraje, Kutn\u00e1 Hora\r\nGalerie um\u011bn\u00ed Karlovy Vary\r\nMoravsk\u00e1 galerie v Brn\u011b\r\nMuseum Bochum\r\nMuseum Folkwang, Essen\r\nMuzeum um\u011bn\u00ed Olomouc\r\nN\u00e1rodn\u00ed galerie v Praze\r\nOblastn\u00ed galerie v Liberci\r\nSevero\u010desk\u00e1 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Litom\u011b\u0159ic\u00edch\r\nGalerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Chebu","monographies":"","articles":"","reviews":"","texts_unlisted":"","annotations":[{"text":"Hugo Demartini was one of the most important representatives of constructivist tendencies in Czech art of the sixties and seventies. However, his work resonates beyond this, beginning with Art Informel and ending with monumental sculptural installations. Demartini received a classical education in sculpture. He began his studies in stonemasonry at the well known Otakar Vel\u00ednsk\u00fd workshop, after which he studied at the Prague Academy with Professor Lauda. In 1956, after completing his military service (part of which he spent at the Military Art Studio, including two months in Brno with Vincenc Makovsk\u00fd), he completed a cycle of plaster bas-reliefs on a Christian theme, the first of his works displaying a strong, original creative intelligence. Geometric compositions of collages made from coloured paper survive from the end of the fifties. At this time he was also creating traditional busts, though at the turn of the fifties and sixties he moved definitively over to the position of the creative avant-garde of that time and joined the strong current of informal abstraction. His most important contribution is a series of low reliefs created by imprinting small elements in clay and then casting them in plaster, to which he then adds bright red paint. We can interpret these pieces as absurd schemes or as models of the kind of labyrinth we encounter in the work of Sekal. At the same time there is clearly a movement in the direction of a geometric dictionary. This becomes fully apparent in 1964, when the issue of Art Informel was pretty much burned out. A basic surface usually in the shape of a square is divided by a regular grid. Relief elements are inserted in individual cells. At the beginning these are variously cut truncated pyramids, subsequently they are exclusively spheres. The first reliefs are made of coloured plaster, but when chrome plates appear he works only with them. The chrome spheres become the symbol of his creative output. Chrome corresponds more to the impersonal character of the artistic intention which lay behind constructivism, while at the same time expanding possibilities. On the one hand it is a reference to the world of technology, to the \u201csecond nature\u201d as it was dubbed at that time, and therefore to contemporary visuality. More important is the element of mirroring, both of the viewer, which establishes a new relationship between viewer and work, as well as of the individual elements themselves, which enter into a mutual optical interaction. Demartini cuts the spheres in various ways, sometimes cutting convex and concave semi-spheres in serial works. At the same time he makes the spheres larger and begins to experiment with various types of boxes in which to insert them. However, the most fundamental experiment involves drawing the spheres out from the purely geometrical background of the underlay and gallery environment and taking them into the landscape. Photography captures the composition of several perfectly burnished chrome spheres on deserted paths or fields. \r\nIn the same year, 1968, Demartini created a second series of experimental works. These events, entitled Demonstrations in Space, involved throwing items (cylinders, skewers, confetti, etc.) in the air and capturing their random configurations both during freefall and on the ground where they fell. The output of both events is documentation in the medium of photography, though both still relate to the world in question and the space structured by it. Even though they belong to the sphere of conceptual art by virtue of their thematicisation of chance, it is clear that they were created by a sculptor. Demartini did not continue down this path of radical dematerialisation, though it was one of the most up-to-date and interesting strands of Czech art of the time. Over the next few years he developed the previous problematic of minimalist reliefs.\r\nSomewhat later, in 1973, Demartini began a series of objects entitled Out of Bounds, which links directly up to the second of the experiments referred to. These objects involved the careful attachment of items (usually cuttings from models of public events, which at the time represented his means of support) thrown over a hardboard base (most often in the form of a square 110cm x 110cm in size) on this base. The theme of chance links them with the shift taking place at that time in the work of Zden\u011bk S\u00fdkora, who had at this time moved over to his stochastically generated lines. The works again take the form of a relief, only occasionally intended for horizontal positioning. This corresponds to the process of their creation, a fact which anticipates future works.\r\nIn 1978 one of the reliefs of this cycle \u2013 this time under a name that would be often used later, Model \u2013 is supplemented with a careful illusion of ruins and decay. This was to become an important element of Demartini\u2019s sculptures, which Josef Hlav\u00e1\u010dek succinctly described as \u201cgeometric formations in various states of disintegration\u201d. The artist first constructs planking, which he covers with plaster. He destroys the resulting shapes with a hammer and immediately fixes the shards \u2013 similarly to the way that previously sticks had dropped onto the base \u2013 through smearing them with plaster. Certain models, especially those from around the turn of the seventies and eighties with their motifs of hanging drapery, give the impression of stage designs for theatre of the absurd, which incidentally was one of the main inspirational sources of Demartini\u2019s generation. The author then follows these themes of architecturally structured space and disintegration in the final period of his life, which he spent in a rural studio in Sumrakov, not far from Tel\u010d. \r\n","date":2010,"authors":[1848]}],"artworks":[111247,111248,111249,111250,111251,111252,111253,111254,111255,111256,111257,119926],"videos":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Demartini - Artlist<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/artlist.cz\/en\/umelci\/hugo-demartini\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Demartini - Artlist\" \/>\n<meta property=\"og:url\" content=\"https:\/\/artlist.cz\/en\/umelci\/hugo-demartini\/\" \/>\n<meta property=\"og:site_name\" content=\"Artlist\" \/>\n<meta property=\"article:modified_time\" content=\"2026-05-20T21:31:42+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/artlist.cz\\\/en\\\/umelci\\\/hugo-demartini\\\/\",\"url\":\"https:\\\/\\\/artlist.cz\\\/en\\\/umelci\\\/hugo-demartini\\\/\",\"name\":\"Demartini - 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