{"id":122260,"date":"2024-07-10T23:06:32","date_gmt":"2024-07-10T21:06:32","guid":{"rendered":"http:devel.artlist.cz\/artist\/soucek-2\/"},"modified":"2026-05-03T19:02:18","modified_gmt":"2026-05-03T17:02:18","slug":"karel-soucek","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/karel-soucek\/","title":{"rendered":"Sou\u010dek"},"featured_media":0,"template":"","class_list":["post-122260","artist","type-artist","status-publish","hentry","keyword-painting"],"acf":{"nicknames":"","date_born":1915,"date_death":1982,"place_born":"Kladno","lives":"Praha","web":"","idatum":"","address":"","email":"","phone":"","biography":"<b>Studium:<br \/><\/b><br \/> 1937\u20131939 <br \/>Akademie v\u00fdtvarn\u00fdch um\u011bn\u00ed, Praha, ateli\u00e9r Willi Nowak<br \/><br \/> 1934\u20131937 <br \/>Um\u011bleckopr\u016fmyslov\u00e1 \u0161kola, Praha, ateli\u00e9r Jaroslav Benda<br \/> <br \/>  <b>Ocen\u011bn\u00ed:<br \/><\/b><br \/> 1980 <br \/>\u0158\u00e1d V\u00edt\u011bzn\u00e9ho \u00fanora 1978 <br \/>cena St\u0159\u00edbrn\u00fd orel mezin\u00e1rodn\u00edho kni\u017en\u00edho veletrhu v Nice<br \/>st\u00e1tn\u00ed cena Klementa Gottwalda  1975 <br \/>\u0158\u00e1d pr\u00e1ce 1974<br \/>cena Anton\u00edna Z\u00e1potock\u00e9ho<br \/>jmenov\u00e1n N\u00e1rodn\u00edm um\u011blcem  1965<br \/>jmenov\u00e1n Zaslou\u017eil\u00fdm um\u011blcem 1961 <br \/>N\u00e1rodn\u00ed cena Guggenheimovy nadace v&nbsp;New Yorku 1959 <br \/>St\u0159\u00edbrn\u00e1 medaile na V. Bien\u00e1le v S\u00e3o Paulo 1958 <br \/>Zlat\u00e1 medaile za v\u00fdzdobu \u010deskoslovensk\u00e9ho pavilonu, Expo 58, Brusel","groups":[121181,121186],"membership":"","exhibitions_solo":"2019\r\nKarel Sou\u010dek, V\u00fdstavn\u00ed s\u00ed\u0148 Anton\u00edna Navr\u00e1tila, Galerie NSPU, Praha\r\n\r\n2016\r\nKarel Sou\u010dek, Kresby, Rabasova galerie Rakovn\u00edk\r\n\r\n2015\r\nKarel Sou\u010dek 1915 \u2013 1982, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Chebu, Cheb\r\n\r\n2010\r\nKarel Sou\u010dek, V\u00fdb\u011br z d\u00edla, Z\u00e1meck\u00e1 galerie, Kladno\r\n\r\n1988\r\nKarel Sou\u010dek, Obrazy a kresby, Slovensk\u00e1 n\u00e1rodn\u00e1 gal\u00e9ria, Bratislava\r\n\r\n1983\r\nKarel Sou\u010dek, Galerie Benedikta Rejta, Louny\r\n\r\n1982\r\nKarel Sou\u010dek, Obrazy z cykl\u016f Lidice \u2013 Osvobozen\u00ed, \u00dast\u0159edn\u00ed kulturn\u00ed d\u016fm \u017eelezni\u010d\u00e1\u0159\u016f, Praha\r\n\r\n1980\r\nKarel Sou\u010dek, Obrazy, kresby, ilustrace, St\u0159edo\u010desk\u00e1 galerie, Praha\r\n\r\n1978\r\nKarel Sou\u010dek, Kresby, D\u016fm um\u011bn\u00ed, \u010cesk\u00e9 Bud\u011bjovice\r\n\r\n1976\r\nKarel Sou\u010dek, V\u00fdb\u011br z d\u00edla, M\u00e1nes, Praha\r\nKarel Sou\u010dek, Kresby, akvarely, kva\u0161e, Galerie Vincence Kram\u00e1\u0159e, Praha\r\n\r\n1965\r\nKarel Sou\u010dek, Mal\u00ed\u0159sk\u00e9 d\u00edlo, Muzeum pr\u016fmyslov\u00e9ho Kladenska, Kladno\r\n\r\n1964\r\nKarel Sou\u010dek, V\u00fdb\u011br z d\u00edla, Galerie Hollar, Praha\r\n\r\n1962\r\nKarel Sou\u010dek, Obrazy, kresby, Galerie V\u00e1clava \u0160p\u00e1ly, Praha\r\n\r\n1957\r\nKarel Sou\u010dek, Kresby z let 1950 - 1957, Galerie Fronta, Praha\r\n\r\n1956\r\nKarel Sou\u010dek, \u010clov\u011bk v m\u00fdch obrazech, D\u016fm um\u011bn\u00ed m\u011bsta Brna, Brno\r\n\r\n1945\r\nKarel Sou\u010dek, V\u00fdstava obraz\u016f, Al\u0161ova s\u00ed\u0148 Um\u011bleck\u00e9 besedy, Praha","exhibitions_group":"2020\r\nD\u011bln\u00edk je smrteln\u00fd, pr\u00e1ce je \u017eiv\u00e1, D\u016fm um\u011bn\u00ed, Ostrava\r\nSen ve snu: Edgar Allan Poe a um\u011bn\u00ed v \u010desk\u00fdch zem\u00edch, Veletr\u017en\u00ed pal\u00e1c, Praha\r\n\r\n2019\r\nSkupina 42, Veletr\u017en\u00ed pal\u00e1c, Praha\r\n\r\n2017\r\nSkupina 42 ve sb\u00edrk\u00e1ch GAVU Cheb, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Chebu, Cheb\r\n\r\n2015\r\nM\u00e1 vlast: Pocta \u010desk\u00e9 krajinomalb\u011b, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha\r\n\r\n2011\r\nKarel Sou\u010dek a jeho \u017e\u00e1ci, Galerie Slov\u00e1ck\u00e9ho muzea, Uhersk\u00e9 Hradi\u0161t\u011b\r\n\r\n2010\r\nRoky ve dnech. \u010cesk\u00e9 um\u011bn\u00ed 1945 \u2013 1957, M\u011bstsk\u00e1 knihovna, Praha\r\n\r\n2003\r\nUm\u011bleck\u00e1 beseda, M\u011bstsk\u00e1 knihovna, Praha\r\n\r\n2001\r\nJi\u0159\u00ed Kol\u00e1\u0159, Sb\u011bratel, Veletr\u017en\u00ed pal\u00e1c, Praha\r\n\r\n1998\r\n\u017divot v rytmu atomu, Veletr\u017en\u00ed pal\u00e1c, Praha\r\n\r\n1993\r\n\u010cesk\u00e9 v\u00fdtvarn\u00e9 um\u011bn\u00ed 1930 \u2013 1960, \u010cesk\u00e9 muzeum v\u00fdtvarn\u00fdch um\u011bn\u00ed, Praha\r\n\r\n1989\r\nDon Quijote v \u010desk\u00e9m um\u011bn\u00ed, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed, Kladno\r\n\r\n1988\r\nKladno a v\u00fdtvarn\u00e9 um\u011bn\u00ed, Kladno\r\n\r\n1985\r\nVyzn\u00e1n\u00ed \u017eivotu a m\u00edru. P\u0159ehl\u00eddka \u010deskoslovensk\u00e9ho v\u00fdtvarn\u00e9ho um\u011bn\u00ed k 40. v\u00fdro\u010d\u00ed osvobozen\u00ed \u010ceskoslovenska Sov\u011btskou arm\u00e1dou, Praha\r\n\r\n1983\r\nV\u00fdtvarn\u00ed um\u011blci \u017eivotu a m\u00edru. V\u00fdstava mal\u00ed\u0159stv\u00ed, socha\u0159stv\u00ed, grafiky a u\u017eit\u00e9ho um\u011bn\u00ed k 35. v\u00fdro\u010d\u00ed V\u00edt\u011bzn\u00e9ho \u00fanora, Praha\r\n\r\n1982\r\nBoje a z\u00e1pasy, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha\r\n\r\n1980\r\nV\u00fdtvarn\u00ed um\u011blci k 35. v\u00fdro\u010d\u00ed osvobozen\u00ed \u010ceskoslovenska Sov\u011btskou arm\u00e1dou, Praha\r\n\r\n1979\r\nV\u00fdstava pedagog\u016f Akademie v\u00fdtvarn\u00fdch um\u011bn\u00ed v Praze, Karolinum, Praha\r\n\r\n1978\r\nUm\u011bn\u00ed v\u00edt\u011bzn\u00e9ho lidu. P\u0159ehl\u00eddka sou\u010dasn\u00e9ho \u010deskoslovensk\u00e9ho v\u00fdtvarn\u00e9ho um\u011bn\u00ed k 30. v\u00fdro\u010d\u00ed V\u00edt\u011bzn\u00e9ho \u00fanora, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha\r\n\r\n1977\r\nUm\u011bn\u00ed v z\u00e1pasech doby, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha\r\n\r\n1976\r\nVil\u00e9m Nowak a jeho \u0161kola, M\u011bstsk\u00e1 knihovna, Praha\r\n\r\n1971\r\nV\u00fdtvarn\u00ed um\u011blci k 50. v\u00fdro\u010d\u00ed zalo\u017een\u00ed KS\u010c, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha\r\n\r\n1968\r\n300 mal\u00ed\u0159\u016f, socha\u0159\u016f, grafik\u016f 5 generac\u00ed k 50 l\u00e9t\u016fm republiky, Praha\r\n\r\n1966\r\nAktu\u00e1ln\u00ed tendence \u010desk\u00e9ho um\u011bn\u00ed. Obrazy, sochy, grafika, Galerie Nov\u00e1 s\u00ed\u0148, Praha\r\n\r\n1964\r\nRychnov 1964, Z\u00e1mek Rychnov nad Kn\u011b\u017enou, Rychnov nad Kn\u011b\u017enou\r\n\r\n1963\r\nX. v\u00fdstava tv\u016fr\u010d\u00ed skupiny \u0158\u00edjen, Galerie Nov\u00e1 s\u00ed\u0148, Praha\r\n\r\n1959\r\nIV. p\u0159ehl\u00eddka \u010deskoslovensk\u00e9ho v\u00fdtvarn\u00e9ho um\u011bn\u00ed, Praha\r\n\r\n1958\r\nExpo 58, Brusel\r\n\r\n1957\r\nIV. Bienal do museo de arte moderna, S\u00e3o Paulo\r\n\r\n1950\r\n\u010clensk\u00e1 v\u00fdstava Um\u011bleck\u00e9 besedy, Slovansk\u00fd ostrov, Praha\r\n\r\n1946\r\nSkupina 42, D\u016fm um\u011bn\u00ed m\u011bsta Brna, Brno\r\n\r\n1945\r\nKonfrontace 2, Topi\u010d\u016fv salon, Praha\r\n\r\n1939\r\nN\u00e1rod sv\u00fdm v\u00fdtvarn\u00fdm um\u011blc\u016fm, Praha","realizations_other":"1982<br \/>V\u00fdzdoba vstupn\u00ed haly \u010ceskoslovensk\u00e9 televize, Kav\u010d\u00ed hory, Praha 1981<br \/>Obrazov\u00fd triptych, Pal\u00e1c kultury, Praha 1978<br \/>\u010cty\u0159i triptychy, \u010ceskoslovensk\u00e9 zastupitelstv\u00ed, K\u00e1hira, Egypt  1976<br \/>Mozaika, \u010ceskoslovensk\u00e9 zastupitelstv\u00ed, Ath\u00e9ny, \u0158ecko 1972\u20131973<br \/>Mozaika, Kulturn\u00ed d\u016fm, Kladno 1956<br \/>Sgrafita na s\u00eddli\u0161ti Nov\u00e9 Kro\u010dehlavy, Kladno","collections":"N\u00e1rodn\u00ed galerie v&nbsp;Praze, Galerie hlavn\u00edho m\u011bsta Prahy, Z\u00e1pado\u010desk\u00e9 muzeum, Galerie St\u0159edo\u010desk\u00e9ho kraje, Oblastn\u00ed galerie Vyso\u010diny v&nbsp;Jihlav\u011b, Severo\u010desk\u00e1 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v&nbsp;Litom\u011b\u0159ic\u00edch, Galerie modern\u00edho um\u011bn\u00ed v&nbsp;Roudnici nad Labem, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v&nbsp;Chebu, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v&nbsp;Ostrav\u011b, Oblastn\u00ed galerie v&nbsp;Liberci","monographies":"\u0160T\u011aP\u00c1NEK Pavel, Don Quijote v&nbsp;tvorb\u011b Karla Sou\u010dka, Institut Cervantes v&nbsp;Praze, 2018 \u0160T\u011aP\u00c1NEK Pavel, Karel Sou\u010dek 1915-1982, Rabasova galerie Rakovn\u00edk, 2015 H\u00c1JEK Roman (ed.), Karel Sou\u010dek, Halda, 2015 KOTAL\u00cdK Ji\u0159\u00ed, Karel Sou\u010dek, Odeon, 1983","articles":"","reviews":"","texts_unlisted":"XVI. sjezd Komunistick\u00e9 strany \u010ceskoslovenska (60. v\u00fdro\u010d\u00ed zalo\u017een\u00ed Komunistick\u00e9 strany \u010ceskoslovenska), in: V\u00fdtvarn\u00e1 kultu","annotations":[{"text":"The painter, illustrator and graphic artist Karel Sou\u010dek suffered the fate of many so-called official artists after 1989. While before the Velvet Revolution his works appeared at almost all major art exhibitions, after the Velvet Revolution he fell almost into oblivion. This situation is eloquently evidenced by the fact that a more comprehensive exhibition of his work was held only in 2015 at the Gallery of Fine Arts in Cheb, more than thirty years after his death in 1982.\r\n\r\nKarel Sou\u010dek's entry into the art scene is linked to Group 42, which he was brought to by his close friend Ji\u0159\u00ed Kol\u00e1\u0159. He fitted perfectly into the community of diverse artistic personalities with a penchant for the periphery and a desire to transform the cultural ambience. As far back as the 1930s, he recorded on his darkened canvases the immediate reality as he saw it around him day after day. His expressive paintings from the 1940s, executed with spontaneous brushstrokes, feature motifs of Kladno\u2019s cityscapes, industrial buildings and steelworks. While the other painters of Group 42 preferred urban subjects that eliminated or strongly stylised human presence, Sou\u010dek, inspired by the legacy of the avant-garde and the works of the Old Masters, remained a realist at all times. His working-class origins, poor family circumstances, and above all the industrial character of his native Kladno were reflected in an emphasis on the strong social and existential subtext. Already in his early years, Sou\u010dek established a register of motifs to which he remained faithful throughout his life. On countless canvases, prints and drawings he repeatedly depicted scenes from sewing workshops, hairdressers, station waiting rooms and platforms, vending machines and city streets full of shop windows and passages. With his focus on the seemingly banal realities of everyday, bleak days, Sou\u010dek perfectly fulfilled the unwritten agenda of Group 42.\r\n\r\nJust as he has remained faithful to several recurring motifs, so it is with the formal symbols that accompany these motifs. Sou\u010dek was endlessly fascinated by the light of the street, its colourful reflections in the glass walls of shop windows, and the dynamics, rhythm and reflections they cast around them. His paintings are composed of intricate transparencies creating complicated spaces in which interior and exterior are mirrored at the same moment. In some of the paintings we see real scenes, but thanks to the loosened vision of several things at once, almost dreamlike visions emerge, enhanced by muted colours.\r\n\r\nAfter 1945, Sou\u010dek took a position as assistant to Vlastimil Rada at the Academy of Fine Arts. The improved economic situation allowed him to increase the size of his canvases, and he applied his tendency towards monumental scale in the following years, in two large canvases with revolutionary themes for Kladno Town Hall. It was then that he found himself facing a paradoxical situation. The painter, who was a convinced communist, had to leave his position at the Academy in 1948, when he painted the canvases for the town hall in the style of the Congress of National Culture, because his painting did not meet the new requirements of a purely social realist art.\r\n\r\nIt was during the following ten years, when Sou\u010dek did not exhibit, did not participate in public events and worked unnoticed in his Kro\u010dehlav studio, that his work reached its peak. The themes remained the same, the only difference being that narrative content prevailed over an interest in formal representation. The fundamental innovation is the structuring of the action of the painting into individual sequences. In some paintings, the plot is divided into separate, almost cinematic scenes. The viewer\u2019s sense of the unfolding plot is enhanced by the division of the scenes into strips. And so several stories appear on the screen at the same moment. The drama of the narrative is thus enhanced. Sou\u010dek no longer paints individual scenes, but divides his paintings into large cycles. Epic sequences, as in the cycle <em>M\u011bs\u00edce \/ Moon<\/em> (1954\u20131956), are filled with figurative scenes. The same period also saw the creation of the monumental paintings <em>Osudy velkom\u011bst \/ Fates of Great Cities<\/em>, <em>Krystaly \u017eivota \/ Crystals of Life<\/em>, <em>Kladno Station<\/em> and <em>P\u0159ed v\u00fdkladn\u00ed sk\u0159\u00edn\u00ed \/ Before the Shop Window<\/em> (all between 1955 and 1957). Sou\u010dek then took his first steps outside the classical field, when he framed his paintings with the text \u201c\u010clov\u011bk v\u00a0m\u00fdch obrazech\u201d (Man in My Paintings), which he published in V\u00fdtvarn\u00e9 um\u011bn\u00ed in 1956. This was also a metaphorical exit from the cloister of his studio and, after many years in isolation, the beginning of his return to cultural life, which included an exhibition at the M\u00e1nes Gallery in Prague a year later.\r\n\r\nThe year 1958 was a milestone. Winning the Gold Prize at Expo 58 in Brussels confirmed his artistic qualities and opened the door for him to return to the Academy of Fine Arts in Prague. He arrived back at the school at the same time as his friend from Group 42, Ji\u0159\u00ed Kotal\u00edk, and the painter Jan Horn\u00edk. Sou\u010dek was \u201csummoned\u201d to be head of the special studio of figurative painting and worked at the art school for the next twenty years, during which time he influenced several generations of future painters. Among his pupils were Bed\u0159ich Dlouh\u00fd, Zby\u0161ek Sion, Milan Kunc and Tom\u00e1\u0161 M\u011b\u0161t'\u00e1nek.\r\n\r\nThe 1960s in Sou\u010dek\u2019s work witnessed the development of the themes described earlier and were marked by a spirit of significant overproduction. Precise work with paint and bravura modelling were replaced by nervous strokes and gestural painting. The composition, which formerly had been fashioned by means of individual figural scenes, is now made up mainly of a rhythm of verticals and horizontals; the darkened colours have been replaced by brighter tones. The theme of the female nude and the symbolic theme of Don Quixote are added to variations and replicas of obsessive motifs.\r\n\r\nDuring the course of the 1970s, in addition to painting cycles such as <em>Lidice<\/em> (1974) or <em>Osvobozen\u00ed \/ Liberation<\/em> (1974\u20131975), Sou\u010dek also created several monumental works for public space, such as the mosaic <em>Kladno Scenery<\/em> (1973) for the United Steelworks House of Culture in Kladno, and artworks for the buildings of the Czechoslovak embassies in Athens and Cairo. For Sou\u010dek, the 1970s marked the peak of his social capital, which was crowned in 1974 by his winning the highest award of the time, the title of National Artist, and four years later the position of chairman of the new Union of Czech Artists. The accumulation of Sou\u010dek\u2019s functions contributes to the feeling and image of an artist who agreed with and actively participated in the cultural and political scene during the period known as normalisation. It must be admitted, however, that during the 1970s he was one of the liberal-minded teachers at the conservative Academy. He represented the type of artist for whom membership of the Communist Party and Union of Czech Artists and holding other official positions was not a matter of personal gain, but of sincere faith, innate altruism, and a desire for a socially just society.","date":2021,"authors":[1902]}],"artworks":[119611,119612,119613,119614,119615,119616,119617,119618,119619,119620,119621,119622,119623,119624,119625,119626,119627,119628,119629,119630,119631],"videos":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sou\u010dek - 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\/karel-soucek\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sou\u010dek - 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