Book Illustration / Fine Art / Graphic Design / Typography
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Legacy of the Incas movie poster by Josef Duchoň, 1967.
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b. 17th January 1929, Hostěradice (Prague-West), Czech Republic
Education:
1945 − 1949, State Graphic School, Prague (Richard Lander)
1949 − 1955, Academy of Arts, Architecture and Design, Prague (Karel Svolinský)
Art Groups:
Association of Czech Graphic Artists Hollar / Sdružení českých umělců grafiků Hollar (1957)
May 57 / Máj 57 (1964)
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Remember the day when we were unfolding our first large size movie poster. There was quite an excitement about the whole thing. Firstly it was about the size of a poster. All of our movie posters were in A3 size until then and we were astonished by the remarkable change in dimensions. Almost three times larger in size, movie poster offered much clearer detail and we had impression that printing was handled with slightly extra care. For common reason as we had later found out, A1 posters were bit more representative, they were used occasionally for poster exhibitions. Our second astonishment was the visual content.
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Black Panther movie poster by Josef Duchoň, 1966.
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Josef Duchoň’s lovingly puzzled collage for children’s adventurous movie set in the jungle (Black Mountain, 1972) was tenderly looking at us. What a joy! His movie posters have become one of our most favourite ever since. As we are describing the temperature, we could also mention, that we have very similar feelings towards Ever Alexander Půček‘s children’s posters.
Fascination of Josef Duchoň with children’s fantasy is in the right place and it was frequently reflected in his book illustrations. From 1959 he was co-working for the State publisher of children book as an illustrator. Early 1960s brought Josef Duchoň also to movie poster design. He created over two dozens of exceptionally impressive movie posters in period of almost 20 years[^1].
His work is extremely explosive, but not in a destructive way. On the other hand, Josef Duchoň is using the mixture of several artistic methods to reach viewer’s sensation. As a surreal artist his choice of collage technique is natural. Wonderful variation of live pastel colours achieved by the use of elegantly shaped and carefully placed woodcuts and his manipulation with objects is masterful. Thanks to monochrome cut outs and neat typography his movie posters are gaining quite significant depth and very vibrant character.
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The Birds the Bees and the Italians movie poster by Josef Duchoň, 1967.
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Josef Duchoň started exhibiting as a member of Association of Czech Graphic Artists Hollar in mid 1950s[^2]. (Important art group established in Prague, 1917.) Among 161[^3] Czech leading artists and graphic designers one can find other interesting poster artists such as Jiří Balcar, Adolf Born, Jan Kubíček, Jiří Šalamoun or Jaroslav Sůra to name few.
His first solo exhibition is dated to 1960. Liberal Czechoslovakia allowed Josef Duchoň to exhibit work also internationally. He took part in Biennale of Young Artists / Paris (France, 1963), Intergrafik / Berlin (Germany, 1965), Myth of the XXth Century / Coventry (UK, 1967) or in exhibition of Czech graphic artists in Oregon (USA, 1967). It seems that 1970s political changes stopped his exhibition activities for some time. There was no place for surreal, or any sort of abstraction in uniformed Czechoslovakia. However children’s publications were not censored, anything was possible in there and movie posters just very mildly[^4]. Josef Duchoň remained faithful to a fantasy.
Please see other fascinating posters designed by the artist.
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Resources:
Literature:
[^1]: Collective authors: Czech film posters of 20th century / The Moravian Gallery in Brno, Exlibris Prague, 2004. Josef Duchoň’s movie poster appears in year 1964 in their chronological catalogue. Our poster archive dates his movie poster activity up to 1981.
Online:
[^2]: abArt / Josef Duchoň / Big thanks to abArt for their research on invisible.
[^3]: cs.Wikipedia.org / Association of Czech Graphic Artists Hollar
Poster art in the history. Story of the Czechoslovak film poster in few takes.
When the Cat Comes, directed by Vojtěch Jasný, 1963
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The ideas of cultural revolution of the Sixties were gently spreading across the Czechoslovakia. The death of Stalin resulted in major positive cultural and political changes. Revealing political crimes of the 1950s helped many to react. Cultural institutions were breathing in fresh air and for almost whole new decade possibilities were gradually becoming reality. Country was getting back in bloom and ready for the new era that would bring many significant names in literature, film and art in general.
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Northern Sea is Calling movie poster by Dora Nováková, 1961.
Léon Garros Is Looking for His Friend movie poster by Unknown Poster Artist, 1962.
The Death of Tarzan movie poster by Jiří Balcar, 1962.
Babette Goes to War movie poster by Vladimír Václav Paleček, 1962.
Fortress on the Rhine movie poster by Jaroslav Slovák, 1962.
Life Without a Guitar movie poster by Jaroslav Sůra, 1962.
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Film poster and its visual quality was always present, however “Brussels style” brought in some vitality to poster art. Bright pastel colours and curvy shapes were welcoming cinema enthusiasts on the way to see the films. There was a special platform dedicated to film posters with 6 posters always on display.[^1] Poster art gallery on the street, if one wants to think. Understanding of newly approaching contemporary cinema also made huge impact on the look of the future poster art. After all photography and film were both sharing so much, not to mention the film frame. Photography was drastically changing its status in poster art and was very often becoming part of the collages, or similar innovative techniques developed by new thinkers.
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Mamma Roma movie poster by Vladimír Tesař, 1963.
Roads movie poster by Václav Zeman, 1964.
Love at Twenty movie poster by Milena Kadlecová, 1963.
For Whom Havana Dances movie poster by Miloš Reindl, 1963.
To Sir, with Love movie poster by Karel Machálek, 1969.
The Exterminating Angel movie poster by Milan Grygar, 1963.
• Foreign films were filling up the cinemas, however the choice was very limited. Films criticising western society made by the controversial film directors were the most preferable.
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Film festivals, International reputation, Good bye Stalin!
Sixties brought in various alternative films from behind the Iron Curtain. Visually diverse films were screened in the cinemas across the country and have been admired by many. Culture was adopting new ways of expression and started to imply them further more in daily practise. Names such as Jean Luc-Godard, Luis Bunuel, Michelangelo Antonioni or Federico Fellini were resonating in freshly introduced film magazines, that were not lacking the visual quality of those printed in the West. Rich content was provided by healthy criticism, something unheard of in the past.
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Good looking magazines with great content appeared in 1960s.
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Appearance of the Czechoslovak films on International film festivals didn’t wait for long. In 1961 first Slovak film A Song About the Grey Pigeon / Stanislav Barabáš enters the Cannes Film Festival.[^2] Followed by the colourful award winning musical When the Cat Comes / Vojtěch Jasný (Cannes, 1963) and The Shop on Main Street / Ján Kadár and Elmar Klos (Academy Award for Best Foreign Language Film, 1965). Together with directors as Otakar Vávra or Evald Schorm they were paving up beautiful path for forthcoming generation.
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The Sun in a Net movie poster by Milan Paštéka, 1962.
Accused movie poster by Karel Vaca, 1963.
Audition movie poster by Jiří Jan Trnka, 1963.
Black Peter movie poster by Zdeněk Palcr, 1963.
Closely Watched Trains movie poster by František Zálešák, 1966.
Drums movie poster by Jaroslav Příbramský, 1964.
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Czechoslovak New Wave. Sun in the net.
[quote]”We had a feeling that literature is far ahead of the film, mean Slovak film, you know. That it is necessary to find the contact with writers and involve them in Slovak film production. Albert Marenčín”[^3][/quote]
Light was getting green also for the young film graduates at FAMU (Film faculty, Prague). Immense visual response to the current state of the country was phenomenal. In some cases maybe mere innocent poetic experiments, but the “real film” could not overlook the situation and reality seemed pure irony at the time. Great source of motivation was coming from the literature, many “lost authors” like Alfonz Bednár, Bohumil Hrabal, Jan Johanides, Milan Kundera, Dominik Tatarka and others were giving young film makers valuable hints. By the mid sixties Czechoslovak New Wave was already established. Young directors were influenced by everything worth of observation and wanted to add it to their art. Although the work of Czechoslovak New Wave was praised by international critics, at home with Communist power and their “relevant values” behind the back they were finding great difficulties. Majority of their films were banned right after the premiere and most of those films would not see the screening room until 1989. In many cases their activity was completely stopped, some of them emigrated (Miloš Forman, Jan Němec). Very similar destiny was following the poster art and its creators. Among few of many representatives of New Wave Cinema in Czechoslovakia belongs Věra Chytilová, Dušan Hanák, Elo Havetta, Juraj Herz, Juraj Jakubisko, Jaromil Jireš, Pavel Juráček, Jiří Menzel, Ivan Passer, Štefan Uher, Věra Vihanová, František Vláčil.
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Nobody Will Laugh movie poster by Jan Turnovský, 1965.
Crucial Years movie poster by Juraj Jakubisko, 1967.
The Cremator movie poster by Antonín Dimitrov, 1968.
The Valley of the Bees movie poster by Jiří Svoboda, 1968.
• Surreal nudity. Very few film posters involved images of naked body.
Witchhammer movie poster by Unknown Poster Artist, 1969.
Witchhammer movie poster by František Zálešák, 1969.
• Witchhammer / dir. Otakar Vávra. Different poster designs for the same film.
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No matter how miraculous they were, pretty much all of the above Czechoslovak films were banned in the late 1960s and onwards. Communists made the shame out of them and they would soon moved all of them to the special archive named “TREZOR” (Communist party safe-deposit box for disturbing material, in this case it was film deposit).
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Film poster and poster artists. Variety in poster art.
One of the main reason why Czechoslovak film poster art became so noticeable was the fact that the surrounding of poster making was made up of rich resource. The sixties has given away the opportunity to try out more courageous and innovative forms. Those were adopted by the groups of painters, sculptors, illustrators and graphic designers who used and mixed them in their own fashion. With strong individual approach rather than uniformed style or tendency, poster design became the playground for all. Extensive use of collage, illustration, photography or typography was applied. They all played important role in poster art and would often encounter on the same film poster. The playful and courageous approach was used by many significant poster designers such as Rudolf Altrichter, Zdeněk Chotěnovský, Zdeněk Kaplan, Zdeněk Palcr, Karel Teissig, Karel Vaca or Zdeněk Ziegler. Having been schooled as sculptors, painters, book illustrators, architects or sometimes self-taughts, poster designs were handled in all possible manners. From the dominating titles set across the poster to decomposing the subject into reduced forms.
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Dialogue movie poster by Zdeněk Chotěnovký, 1963.
For Boys Only is for Girls Too movie poster by Libor Fára, 1963.
Stairs of Courage movie poster by Ivan Urbánek, 1963.
Five Minutes to Seven movie poster by Jan Brychta, 1965.
Murderer from Beyond the Grave movie poster by Milan Paštéka, 1967.
The Republic SHKID movie poster by Unknown Poster Artist, 1968.
The strongest and the most critical films of Czechoslovak cinema emerged in the second half of the sixties. As we know there is no place for criticism in any political regime. Sixties remained a myth for next twenty years and were systematically erased by Socialist invention called “Normalization”. That did not however stop poster designers from carrying on, as Zdeněk Ziegler puts it “all of us had the same enemy, after all”. [^4]
Before we enter poster art of 1970s, we thought that you might enjoy a little visual intermezzo. Sixties poster artists and detailed description about their studies, exhibitions and related informations are getting together for the next part.
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Master Executioner, Čestmír Pechr, 1966.
The Seventh Seal, Karel Vodák, 1966.
• Master Executioner / dir. Paľo Bielik, test print of unrealised version of the 1966 film, with Slovak version of The Seventh Seal / dir. Ingmar Bergman that have possible never seen the light either, printed at the back.
Alaska movie poster by Zdeněk Kaplan, 1967.
Taming of the Shrew movie poster by Radek Očenášek, 1968.
The Crime of David Levinstein movie poster by Milan Němeček, 1969.
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[quote]”It is getting even worst. It’s hard to say, where is the end of the road we have not chosen. Somewhere has been decided, that this generation must remain forgotten. Whole army of chief executives and referees gathered together and they all came up with strictly planned programme. Instead of Poledňák there came Purš, instead of Harnach – Šťastný, instead of Kunc – Toman. Common sense refuses to believe it, but for several months, these three gentlemen have been working hard on the disposal of Czechoslovak film. 19.2.1971 / Pavel Juráček”[^5][/quote]
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322 / Dušan Hanák, Jan Meisner, 1969.
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[^1]:Vratislav Hlavatý for the Czech Radio Interview / 29.3.2013
[^2]: https://en.wikipedia.org/wiki/Cannes_Film_Festival
[^3]:Albert Marenčín / Golden Sixties, TV document, dir. Martin Šulík, 2009. (Albert Marenčín / artist, writer, surrealist and former director of one of the artistic group of film producers in Slovakia (Produced also Sun in the Net). He was very much responsible for pulling Slovak young film directors to studios in Bratislava)
[^4]:Zdeněk Ziegler for the Czech Radio Interview / 15.5.2013.
[^5]:The Key for Determining Dwarfs or The Last Travel of Lemuel Gulliver, dir. Martin Šulík, 2002.
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Additional research:
Literature:
Flashback / Czech and Slovak Film Posters 1959-1989, ed. Libor Gronský, Marek Perůtka, Michal Soukup, Olomouc Museum of Art, 2004.
Elo Havetta (1938-1975) / Václav Macek, SFÚ, 1990.
The Cremator movie poster by Antonín Dimitrov, 1968.
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b. 27th February 1928, Mšecké Žehrovice/Rakovník, Czech Republic
d. 27th December 2014, Bobcaygeon, Canada
lived in Canadian exile from 1968
Education:
1945 – 1953, Academy of Arts, Architecture and Design in Prague (Antonín Strnadel)
Exhibitions:
until 1968 mostly Prague exhibitions
Toronto, Royal Canadian Academy of Arts (member), Canada, 1991
London / United Kingdom
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In few of our recent articles we have discussed absurdity and inappropriate behaviour of Communist leaders. Terrifying act of those in power and their constant fight towards fictional enemy was very systematical. In country as small as Czechoslovakia it was not impossible to succeed.
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Four in a Circle movie poster by Antonín Dimitrov, 1967.
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Similarly to Jan Brychta, Antonín Dimitrov’s profile was simply deleted. Second successful attempt of leaving the country in 1968 took Antonín Dimitrov with his wife Olga to Canada. His first try when he and his soul mate swam across the river Danube to neighbouring Austria, just to get caught and handed in to Russian soldiers, cost him several years in prison and forced labor.
Before their disappearance, Antonín Dimitrov and his wife worked professionally as a set and costume designers in various theatres across the country. Antonín’s rebellious nature has been proved several times. Exclusion from the Art Academy for his incorrect political views (note: even the students had to be the members of Communist party. Same applied to parents, if there was a non member in the family, studying at higher education was impossible. Not talking of grand parents.) and his unsuccessful immigration right after that are only few examples of his misbehaviour.
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Sign of the Cancer movie poster by Antonín Dimitrov, 1967.
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His collaboration with Czechoslovak New Wave directors, specially with Juraj Herz must have also spiced the soup up. Juraj Herz’s Cremator was the movie Communist could not swallow, similarly to other two titles in the showcase. In cases when the Communists decided to ban the movie everything would go off the shelf. Film director, author of the script / writer and the same destiny would meet the film poster.
Movie posters of Antonín Dimitrov are reflecting the times utterly. His posters are incredibly attractive, no matter if he touches the scissors or the paint brush. Excellent typographer and master of the blend, his virtues are sensibly hidden mostly in the collage. His posters are missing on one thing, there are only very few of them. He possibly did not design more than ten movie posters.
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Masters of Congo Jungle movie poster by Antonín Dimitrov, 1967.
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Even though Antonín Dimitrov luckily led succesful life in the exile. As a set designer he and his wife worked on numerous theatre and opera productions. He was also head of the design programme at the prestigious Indiana University School of Music in Bloomington, Indiana[^1] . But for Czechoslovak film poster his departure was a great loss. Many fascinating artists remained and learn how to overcome the situation, while building one of the most impressive poster archive in design history. It would be truly interesting to see what else could Antonín Dimitrov pull out of that hat.
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The Limping Devil movie poster by Antonín Dimitrov, 1968.
[^1]: Obituary of Antonin Dimitrov, Hendren Funeral Homes, Norwood and Bobcaygeon, Ontario / it is sad when only biography on artist can be found in his obituary. Beautifully written, one should take a look.
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Movie poster shown on the picture above has been seen previously in one of our articles on History of Poster Design in Czechoslovakia. It did not stop us from refreshing the memory as we are strongly effected by its expressiveness. Jean Gabin‘s common impression for every French born was broken into uncertainty. Divided into parallel fields as in the rhythm similar to main theme of that phenomenal soundtrack composed by Serge Gainsbourg. Music moves on as we can see even on the letters, one can hear the most peculiar sounds.
Mysterious poster for Georges Lautner‘s film is hiding one extra mystery and that is the poster designer himself. Jaromír Bradáč remains the one, or at least for now. You can count number of his film posters on your left hand and that’s about everything we could track on this fantastic graphic designer. Hopefully the future will show some more light about him, as we believe five film posters is not everything he did.
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A Study About Women, film poster by Jaromír Bradáč, 1968.
b. 12th of June 1930, České Velenice, Czech Republic
lives and works in Prague, Czech Republic
Education:
1949−1950, Charles University, Prague (Faculty of Pedagogy / Art?)
1950−1953, Academy of Arts, Architecture and Design in Prague (Pelc Antonín)
1953−1955, Academy of Fine Arts, Prague (Pelc Antonín)
Awards:
many, mostly for his animated films and book illustration (few shown bellow)
1974, caricaturist of the year, Montreal
1979, Golden Apple, Book Illustration Biennials, Bratislava
1985(?), Gold Medal, IBA, Leipzig
1988, Honorary Artist
Film posters designed: 19 (1959-1989)[^1]
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The Smallest Show on Earth – Adolf Born / Oldřich Jelínek, 1960.
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To meet with the fantastic world of Czech artist Adolf Born in former Czechoslovakia was not as complicated. One only had to get born there and the ticket for his show was lying in front of you. His visual presence was absolutely everywhere. Book illustrations and television programme was provided for the smallest audience and for those older ones there were magazines covered with his caricatures. He has also made the older population interested into watching animated films for the children.
Adolf Born’s work is well known also to international spectator. His book illustrations (over 400 books) and animated films (by the 1980 he produced 45 of them)[^2] visited many countries and have taken part in many exhibitions. Humorous depiction is very characteristic in his work. Adolf Born is here to make you smile.
His film poster portfolio extends from early 1960s all the way to mid 1990s, with limited number designed. Adolf Born was preoccupied with other things. Film posters were possibly only other commission he was getting from the art union, where every illustrator/graphic had to be a member. Very few, but all very impressive. If the film poster was not made for the World War II film, it would definitely leave one with the grin on the face.
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Front cover for the Burning Daylight / Jack London, illustrated by Adolf Born, 1970.
We have prepared another Poster Sale to make our film poster collection accessible to anyone as passionate about the art from Czechoslovakia as we are. Please take advantage of our Poster Sales to get your hands on some of the best designs in the history of poster art. Enter the coupon –
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– into a coupon field when checking out. Sale will run until 7.11.2015. Enjoy!
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Poster Sales. 22% off your basket. Type – poster art – in coupon field when checking out.
