Sweet Bird of Youth movie poster by Vladimír Bidlo, 1962.
19th of October 1926, Kouřim, Czech Republic
1997, Prague, Czech Republic
Education:
1945−1950, State Graphic School, Prague
1945−1950, Charles University, Prague (Faculty of Pedagogy / Art?)
1945−1950, Academy of Arts, Architecture and Design in Prague (prof. F. Tichý)
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Sixties poster design brought in many interesting artists coming also from other art disciplines. Czech illustrator, graphic and poster artist Vladimír Bidlo is certainly one of them. His adventurous repertoire of film posters starts somewhere in the beginning of 1960s and extends to the mid 1970s. Vladimír Bidlo’s film posters are proving his incredible talent for drawing and illustration (The Appaloosa, below). He also falls for photography and mix the two delicately as can be seen on his earlier film posters.
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That Man in Istanbul movie poster by Vladimír Bidlo, 1967.
Viva Maria movie poster by Vladimír Bidlo, 1967.
The Firemen’s Ball movie poster by Vladimír Bidlo, 1967/1988.
The Appaloosa movie poster by Vladimír Bidlo, 1970.
***
We believe poster design for Miloš Forman’s The Firemen’s Ball had to resonate together with the film on its premiere in Cannes 1968, poster depicts the film perfectly. Too controversial for the Communists, film was banned and reappeared again by the end of the 1980s, same for the poster. Film posters created for majority of banned films were designed by the most appealing artists of the time. It is hard to tell if designing of film posters for censored movies had any effect on their future art profession. Vladimír Bidlo’s main focus laid on book illustration and after producing several dozens of excellent film posters he fully returned to that.
***
My Wife’s Affair movie poster by Vladimír Bidlo, 1972.
The Cremator movie poster by Antonín Dimitrov, 1968.
***
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
***
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.
***
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.
***
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.
***
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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Art Editor / Book Illustration / Graphic Art / Typography
Book cover design, colour letterpress, Robert Brož, 1970 *
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– b. 10th of August 1939, Prague-Čelákovice, Czech Republic
Education:
– 1954−1958, School of Industrial Art, Bratislava
Exhibitions:
– Biennale Brno 1966, 1970 and later
– Bratislava, Prague, Sofia, 1968
– BIB, Biennale of Book Illustration, Bratislava 1969, 1971 and later
– IBA Leipzig, 1971
– Biennale Warsaw 1971, 1975
– Barcelona, Berlin 1973
Awards:
– Diploma, International exhibition of young poster designers, Sofia, 1968
– Merit Award, IBA Leipzig, 1971
– Merit Award, The most beautiful book of the Year, Bratislava, 1972 and 1977
***
Excellent typography – Pilgrimage to San Jago, Robert Brož, 1973.
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Robert Brož’s appearance in Czechoslovak film poster archive is rather rarity, even though designing posters was one of his main profession. As a typographer and graphic designer he has created numerous number of book covers (Bronze Medal, IBA Lepzig, 1971), posters and specialised in creating ex libris for collectors. He was also editor and graphic designer of Slovak publishing house Osveta.
We only know of one single film poster Robert Brož has ever designed. It was created for children’s tale Pilgrimage to San Jago (unofficial title) and done very much in what you would call Brussel style. Common design resonating pretty much in everything made in late Sixties Czechoslovakia (precious times swept away by shady 1970’s propaganda).
***
Bratislava City Gallery / Galéria Mesta Bratislavy, logo design, Robert Brož, 1971.**
***
Finding out Robert Brož’s name on majority of books published for Slovak photographer Martin Martinček made us nicely surprised. Martin Martinček’s photography is hugely admired by us and we thought you might like to see more examples of Robert Brož’s design. As he was not exactly movie poster designer, we still believe in his importance in Czechoslovak graphic art and are adding his name to our Sixties designers list.
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Martin Martinček / Cradle – photography book cover, Robert Brož, 1972.***
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We will be coming back to Martin Martinček in later individual posts on photography, where we’ll try to show a glimpse of his excellent work and maybe we’ll even reveal some of his unseen prints from our collection of photographs.
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Martin Martinček / Highlanders – photography book design, Robert Brož, 1975.****
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Note: this showcase is part of our ongoing article Film posters / Made in Czechoslovakia. The story of film posters.
***
Resources:
Literature:
II. Bienále Užité Grafiky Brno ’66, Medzinárodní Výstava Knižní Grafiky a Ilustrace, Moravská Galerie v Brně. / 2nd Biennale of Graphic Design Brno ’66, The International Exhibition of Book Graphics and Illustrations, Moravian Gallery Brno, 1966
IV. Bienále Užité Grafiky Brno 1970, Medzinárodní Přehlídka Plakátu a Propagační Grafiky, Moravská Galerie v Brně. / 4th Biennale of Graphic Design Brno 1970, The International Exhibition of Poster and Promotional Graphics, Moravian Gallery Brno, 1970
V. Bienále Užité Grafiky Brno 1972, Medzinárodní Výstava Ilustrace a Knižní Grafiky, Moravská Galerie v Brně. / 5th Biennale of Graphic Design Brno 1972, The International Exhibition of Illustrations and Book Graphics, Moravian Gallery Brno, 1972
VII. Bienále Užité Grafiky Brno 1976, Mezinárodní výstava ilustrace a knižní grafiky, Moravská Galerie v Brně. / 7th Biennale of Graphic Design Brno 1976, The International Exhibition of Illustrations and Book Graphics, Moravian Gallery Brno, 1976
IX. Bienále Užité Grafiky Brno 1980, Medzinárodní Výstava Ilustrace a Knižní Grafiky, Moravská Galerie v Brně. / 9th Biennale of Graphic Design 1980, The International Exhibition of Illustrations and Book Graphics, Moravian Gallery Brno, 1980
* Collective authors: Stretnutie / Meetings, Martin 1970. Book cover, colour letterpress. V. Bienále Užité Grafiky Brno 1972, Medzinárodní Výstava Ilustrace a Knižní Grafiky, Moravská Galerie v Brně. / 5th Biennale of Graphic Design Brno 1972, The International Exhibition of Illustrations and Book Graphics, Moravian Gallery Brno, 1972 (p.55)
** logo – Martin Martinček – Exhibition Catalogue, Hora a horské bystriny / Mountain and mountain stream (unofficial translation). Galéria Mesta Bratislavy / Bratislava City Gallery, 1971
*** book cover – Martin Martinček – Milan Rúfus, Kolíska / Cradle (unofficial translation). Osveta, Banská Bystrica, 1972.
**** book cover, book design – Martin Martinček, Vrchári / Highlanders (unofficial translation). Osveta, Martin, 1975
***
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Poster art by Jaroslav Fišer for Věra Chytilová’s films.
We can hardly hide our excitement about BFI’s wonderful retrospective of one of the most innovative Czech filmmakers Věra Chytilová. It is also a very good opportunity to introduce the work of Jaroslav Fišer, prolific graphic designer and author of several posters for her films.
Jaroslav Fišer studied at the Technical University in Prague and at the Academy of Arts, Architecture and Design, Prague, former Czechoslovakia. During 1959 – 1987 Jaroslav Fišer designed 104 movie posters and his poster for film The Apple Game won a Silver Hugo at the International Film Festival in Chicago, USA.
BFI’s tribute to the director is organised in collaboration with Czech Centre, London and Czech National Film Archive and is on from 1st March – 17th March 2015.
Movie posters designed for Věra Chytilová’s films:
The Apple Game movie poster by Jaroslav Fišer, 1976.
The Panel Story movie poster by Jaroslav Fišer, 1979.
The Very Late Afternoon of a Faun movie poster by Jaroslav Fišer, 1984.
The Jester and The Queen movie poster by Jaroslav Fišer, 1987.
Selection of movie posters by Jaroslav Fišer:
Please don’t wake me up movie poster by Jaroslav Fišer, 1962.
Adam’s Two Ribs movie poster by Jaroslav Fišer, 1964.
Check Passed: No Mines movie poster by Jaroslav Fišer, 1966.
The Third One movie poster by Jaroslav Fišer, 1968.
A Flea in Her Ear movie poster by Jaroslav Fišer, 1969.
Litle Big Man movie poster by Jaroslav Fišer, 1973.
Poster art in the history. Story of the Czechoslovak film poster in few takes.
When the Cat Comes, directed by Vojtěch Jasný, 1963
••
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.
••
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.
••
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.
••
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.
••
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.
••
Good looking magazines with great content appeared in 1960s.
••
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.
••
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.
••
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.
••
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.
••
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).
••
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.
••
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.
••
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.
Pasha movie poster by Jaromír Bradáč, 1969.
The Crime of David Levinstein movie poster by Milan Němeček, 1969.
••
[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]
••
322 / Dušan Hanák, Jan Meisner, 1969.
•••
[^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.
••
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.
Movie posters in history. Showcase of 1960s poster designs.
Poster Designer / Anonymous Artists
It would be very hard to define a common practice or visual language of Anonymous poster designers in Czechoslovakia. Even harder with Sixties, as the period offered so much surprises and unpredictable twists in both politics and culture. It seems like one can never live without the other (somehow never in successful harmony). Specially politicians were always dependant on cultural demagogy, using visual propaganda to their needs.
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Knights of the Black Cross movie poster by Unknown Artist, 1961.
Knights of the Black Cross II movie poster by Unknown Artist, 1961.
Careful and very modern selection of colours was used for both parts of Knights of the Black Cross, 1961.
Captain Lechi movie poster by Unknown Artist, 1963.
Captain Lechi 2 movie poster Unknown Artist, 1963.
War movies were always highlights, particularly those showing war heroes in Socialist sort of way. Ongoing currency, no matter what’s the weather.
The Guild of the Kutná Hora Virgins movie poster by Unknown Artist, 1964.
When Comedy Was King movie poster by Unknown Artist, 1965.
Symbols, hints and playful thoughts were always around poster making.
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There is nothing unusual about Anonymous artists (if own decision), but being unknown artist in the discipline, where displaying signature is relevant/appropriate (n. Karel Vaca, Dobroslav Foll, Karel Teissig and others) raises several questions.
Earlier in the second part of our article on history of poster art in Czechoslovakia we have mentioned censorship as the part / instrument of the Communist doctrine. Communist party was the one and only expert on art, which might sound funny but the reality was not so much, Social Realism did exist, after all. In addition to films ÚPF (Ústřední Půjčovna Filmů/ Formal state distribution 1957 – 1991) was also commissioning movie posters. Both were deciding what could be shown in the cinemas. Were they somehow responsible for hiding artists identity?
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Fists in the Pocket movie poster by Unknown Artist, 1965.
Winnetou, The Last Shot movie poster by Unknown Artist, 1966.
Storm Rises movie poster by Unknown Artist, 1967.
Mandara movie poster by Unknown Artist, 1967.
The Demolition Squad movie poster by Unknown Artist, 1967.
Boarding House for Bachelors movie poster by Unknown Artist, 1968.
From Switzerland to Vietnam, poster designs made by Unknown Artists covered all sorts of spectacular, if not even controversial movies.
***
We know that the film poster committee always consisted of few graphic artists (2-3). They would constantly try to give green light to the proposed poster designs. Were they also turning the blind eye to help fellow artists (obstacle/potential traitors and pests[^1]) in getting at least some sort of a commission? We believe it could be possible as the demand for the movies was quite high and each movie had to have its own poster. Still, for some reasons several artists had to remain unknown.
***
Riders in the Sky movie poster by Unknown Artist, 1968.
Crime in the Night Club movie poster by Unknown Artist, 1968.
By the end of Sixties photography techniques were commonly used in various poster designs. Above another example of photograph overtaking the space.
Aladdin and His Magic Lamp movie poster by Unknown Artist, 1968.
The Sweet Games of Last Summer movie poster by Unknown Artist, 1969.
The Sweet Games of Last Summer (1970), based on Guy de Maupassant’s novel was premiered in Czechoslovakia only once. Film directed by Juraj Herz (The Cremator) came back to distribution again in 1988[^2].
Inn at the Stone Table movie poster by Unknown Artist, 1969.
Dancing Party in Hitler’s Headquarters movie poster by Unknown Artist, 1969.
***
Looking at their movie posters many years later, we can observe some fascinating poster designs. They do not lack any of the visual qualities of other Czechoslovak poster artists. The pity is, they could never take part in any of the ongoing poster exhibitions of the time. We will possibly never be able to find out who were the authors of those magnificent movie posters, or how many artists were creating anonymously, but they surely deserve our appreciation. Until 1989 hundreds of poster designs were created by Unknown artists. There was no one to hide from after that.
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Literature:
[^1]: Toto čudesné 21.Storočie / This peculiar 21st century (unofficial translation), Tomáš Štrauss, Kalligram 2009. (Book is not so much about the movie posters, but Tomáš Štrauss, expert on Totalitarian, art critic/historian, said it to the point)
