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355:, 1987–89). Bodies with taut musculature are replete with physiological processes beneath a shockingly naked surface. The animal figures inspire terror with their exaltation and recall the deceptive mutability of a world dominated by aggression, anger, psychological coercion and helpless defiance. Oriešek's scenes of passion and destruction draw the viewer in with their narrativity, depicting stories that resemble dreamlike images. The author intended them to express his incipient alienation from his surroundings and the absurdity of an existentialist conception of existence or an anxiety fed by inner despondency. (
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538:). The mastery of this technique allows the painter to create a perfect illusion of deep space or mirroring, the sepia colour evoking old drawings. All the paintings are filled with hidden meanings. The female bodies are formally perfectly beautiful and sensual even in tense conflict scenes, while the male and animal figures look like anatomical studies by a
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and barbaric magic in a technically brilliant way and suggestively illustrate how close beauty and evil are to each other. They depict with extraordinary precision interpersonal relationships as epic-fantasy scenes. He later replaced the delicate and detailed modelling of hatched pencil drawings with the
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The fantasy world of the painter's imagination is brought into the real space of the sculptor's studio. In contrast to the hyperrealistic figures, elements of sculptural instrumentation are composed into the painting, such as plinths, columns, sculptural reinforcements and supports replacing parts of
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After graduation he was a freelance sculptor. He exhibited independently for the first time in 1969 and then only since the late 1980s. The sculptural and drawing work of Peter Oriešek brought a completely new and unique perspective to the Czech art scene. His original artistic expression, which very
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The turn to drawing coincided with Oriešek's reflections on multi-figure sculptural compositions, but from the late 1970s and 1980s onwards, drawings became an entirely distinctive part of his work and, like his sculptures, depict a limit situation in life. Oriešek's drawings combine pure classicism
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According to Ivan
Neumann, Oriešek has chosen artistic means that are traditional in appearance and that show an awareness of necessary continuity. The matter-of-factness, that is, the reality of his form, is overwhelming. Not, however, for the drama of the story, which moves, or for the drawing of
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The sculptures are modelled with attention to detail, the combination of human and animal figures expressing emotions, fear or violence are captured in dynamic positions. The tension is also contained in the contrast of the realistic modelling of the figure in a tense pose with surfaces containing
214:. The "cruelty of truth" is not an art for its own sake in his works, but restores the form to its original and, in the historical context, legitimate sense of making it present, visible and objectified. It expresses sensibility, existential anxiety and the irrational situation of life.
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Peter Oriešek is one of the leading representatives of the current generation of Czech modern painting and sculpture, which through new figuration reveals the inner complexity of man with his anxieties and frozen aggressiveness, while following the traditions of illusionistic painting.
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The sculptures were primarily intended to be cast in bronze or resin, but some chamber works remained as models in their original material – a mixture of beeswax, asphalt and rosin – and are polychromed. The ceramic works were created in collaboration with
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Peter Oriešek graduated at a time when the domestic scene was moving away from abstract art and a space was opening up for brilliant draughtsmen who were absorbing the impulses of Pop Art, Hyperrealism, and especially the broad current of
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367:, 1979–1985). If the sculptor's main intention is to express dynamism, the sculpture is conceived as an unfolding of the movement phases of a single figure walking down the stairs, whose arms rise at the end to meet the coming hope (
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The expressive conception, sculptural drawing of nude figures and dramatic scenes full of emotion and passion are also characteristic of the compositions of the large-scale images that Oriešek paints with
American retouch
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painter. Human and animal are intertwined with each other into one chimerical body, massive muscles and tendons are bared, veins filled to bursting, parts of their own skeletons protrude from the figures like a
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Tetiva
Vlastimil, Podoby fantaskna v českém výtvarném umění 20. století / Images of the Fantastic in Czech 20th Century Art, cat. 94 p., Aleš South Bohemian Gallery in Hluboká nad Vltavou 1998
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line or form, which astonishes with certainty, but rather for the mystery and enigma of the emerging, seemingly self-evident shapes, the things of the world, which he both shows and hides.
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Tetiva
Vlastimil, České umění XX. století: 1970–2007 / Czech Art of the XXth Century: 1970–2007, cat. 326 p., Aleš South Bohemian Gallery in Hluboká nad Vltavou 2007
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Petra Oriešková: obrazy, Peter Oriešek: plastiky / Petra Oriešková: paintings, Peter Oriešek: sculptures, text I. Neumann, Bratislava, Povážska Galéria, Žilina 1991
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286:, 164 cm, 1969). The sculptures, cast in transparent artificial resin, offer an insight into the interior with an expressive colour confusion of viscera (
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Soma Sema (Peter Oriešek, Kryštof Hošek), text Ivan
Neumann, 88 s., Museum Kampa – Nadace Jana a Medy Mládkových, Praha 2021, ISBN 978-80-270-9706-7
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309:(1970, GASK collection), created as polychromed assemblages of biomorphic abstract shapes in artificial resin, on a panel with a woman's head.
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the bodies, or strange mushroom-like formations, balls of cords or tubes, reminding us that our technical civilization is part of this world.
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was unveiled on 16 November 2006 at
Albertov, from where a procession of students marched on 17 November 1989, marking the beginning of the
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for the metro station (unrealised). Peter Oriešek was also involved in medallic and relief work, which was also published as a blind print (
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sharply interprets the situation of man in the middle of the world, has its origin in the unfavourable social atmosphere in the country
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Marie Klimešová, Czech New
Figuration, Pop Art Reflection, Grotesque, Assemblage, in: Bregantová A et al. (ed.), 2007, pp. 171–172
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The main core of his work, however, are sculptures that come from the world of inner imagination and dream visions. Like some of
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Petra Oriešková, Peter Oriešek, kresby, plastiky / drawings, sculptures, text by
Simeona Hošková, Graphic Cabinet Olomouc 1989
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Peter Oriešek: Krutost pravdy / The
Cruelty of Truth, text by Vlastimil Tetiva, Věra Procházková Foundation, Strakonice 1998
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Peter Oriešek: Kresby / Drawings, House of
Culture ROH, České Budějovice, AJG Hluboká nad Vltavou (text H. Rulíšek) 1986
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technique. The hyperbolic bizarreness of his drawing compositions has a direct counterpart in some of his sculptures.
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associated with a renewed interest in physicality. In his early sculptural works, expressive exaggeration is evident (
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Akademie výtvarných umění v Praze / Academy of Fine Arts in Prague, almanach 70 s., KANT publishing, Praha 2004
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Peter Oriešek, Petra Oriešková, Galerie mladých (U Řečických) / Gallery of Youth (U Řečických), Prague 1969
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Peter Oriešek is the author of several figurative sculptures in public space as well as important
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182:(28 August 1941 – 18 October 2015) was a Czech sculptor, medallist, painter and teacher at the
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Jiří Kotalík, Volné sdružení "Tolerance" / Free Association "Tolerance", Art Jan Bernat, 1989
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Přistání na Řípu - an anthology of new Czech science fiction short stories, Mladá fronta, 1988
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Jiří Sozanský, Proti zdi / Against the Wall, with the support of Litera Gallery, Prague, 1991
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Peter Oriešek: Zdrcující věcnost, text Ivan Neumann, Městské muzeum a galerie, Hranice 1999
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298:, 1969). The existential theme of disgust, which has undergone the alienating lessons of
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Untitled VIII, 1995–1997, sepia, airbrush, acrylic on paper and wood, 85 x 125 cm
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AJG, development of Czech painting of the last 40 years, Českobudějovický deník, 2007
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Hološka Ľ a kol., Figurama 09, cat. 528 p., Typos, printing works, a.s., Plzeň 2009
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Untitled, 1995–1997, sepia, airbrush, acrylic on paper and wood, 120 x 120 cm
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Peter Oriešek: Kresby / Drawings, Galerie Litera, text by I. Neumann, Prague 1992
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Peter Oriešek: Hřích a trest / Sin and Punishment, Galerie Litera, Prague 1994
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Hošková Vomočilová Simeona, Mladá kresba / Young Drawing, Odeon Prague, 1984
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Holub Karel, Mladí čeští sochaři / Young Czech Sculptors, Odeon Prague, 1978
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International Medallists Symposium in Uherské Hradiště 1992: Peter Oriešek
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769:(1989), park behind the congress centre of the Na Homolce hospital, Prague
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MUO, Sculpture Algorithm | Sculptural drawings, sketches and models, 2023
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Peter Oriešek, Studies for Sculpture 1981-2 in: Against the Wall, 1991
713:(1989), bronze, Fountain in the Park of the Na Homolce Hospital, 1991
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is installed on the house where the dissident Benda family lived.
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Tetiva V, The Cruelty of Truth in the Work of Peter Oriesek, 1998
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Konečný Dušan, Umění a doba / Art and Time, Odeon Prague, 1980
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Academy of Fine Arts in Prague, KANT, Prague 2004, unpaginated
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His major works from the early 1970s are several variants of
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Lipany for the First Time: Drawings, Prints, Small Sculpture
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static relief or with elements symbolizing death and decay (
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Encyclopedia of Prague 2: 17.XI.1989, Albertov (Nové Město)
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Galéria M.A. Bazovského: Peter Oriešek - Private Mythology
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332:. Apart from ancient sculpture, his major influences were
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Gallery of the Central Bohemian Region (GASK), Kutná Hora
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Peter Kováč, review of GASK Modern Art Exposition, 2014
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Ceramic mosaic on the rear facade of the Old Town Hall
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When - if not now?, Who - if not us?, 17 November 1989
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Dr. Václav Benda, Karlovo náměstí 287/18 (Nové Město)
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Neumann I, in: A. Horová (ed.), NEČVU, 1995, p. 588
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Neumann I, Peter Oriešek: Crushing Factuality, 1999
1405:Academic staff of the Academy of Fine Arts, Prague
1283:Barok a dnešek / Baroque and Today, Symposion 1994
1263:Collective catalogues and publications (selection)
987:The Sixties, Galerie Zlatá husa 2004, pp. 292-293
626:Untitled XI, undated, airbrush, 119 x 120 cm
614:Untitled I, undated, airbrush, 100 x 123 cm
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830:Aleš South Bohemian Gallery, Hluboká nad Vltavou
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784:, 1995, bronze, Central Military Hospital Prague
590:Untitled X, undated, airbrush, 121 x 120 cm
1160:Fountain in the park of the Hospital Na Homolce
1078:Peter Oriešek, Adam and Eve, 1988, Arbohemia.cz
562:Occasionally, he has worked on illustrations (
160:sculptor, medallist, painter, teacher at the
1204:GKK - sculptures: Peter Oriešek, The Breakup
194:Peter Oriešek was born on 28 August 1941 in
936:Kotalík J, Free Association Tolerance, 1989
754:, 1982, artificial stone, Prague-Strašnice
312:In the early 1970s, inspired by a trip to
212:occupied for twenty years by Soviet troops
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1042:Britské listy: Orieškova Cesta za světlem
707:(1995), Central Military Hospital, Prague
419:Untitled, undated, bronze relief 38x37 cm
217:Since 1995, he has been a teacher at the
66:Learn how and when to remove this message
1097:Hošková S, Grafický kabinet Olomouc 1989
256:was a prominent Czech academic painter.
29:This article includes a list of general
1350:The Vltavotýn Courtyards: Peter Oriešek
1320:abART Information System: Peter Oriešek
1193:GAVU, catalogue of the medal collection
1056:Moravian Gallery in Brno: Peter Oriešek
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1020:M.A. Bazovsky Gallery: Peter Oriešek
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701:, artificial stone, Prague-Strašnice
695:(Jindra Viková, Peter Oriešek, 1975)
204:Academy of Arts and Crafts in Prague
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151:School of Arts and Crafts in Prague
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1031:Symposion: Baroque and today, 1993
818:Slovak National Gallery Bratislava
232:, a founding member of the groups
35:it lacks sufficient corresponding
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1340:Vetřelci a volavky: Peter Oriešek
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244:(1990) and the civic association
842:Slovácké muzeum Uherské Hradiště
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1171:SNG: Peter Oriešek, Music, 1975
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662:Untitled, airbrush (circa 1995)
650:Untitled, airbrush (circa 1995)
638:Untitled, airbrush (circa 1995)
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184:Academy of Fine Arts in Prague
162:Academy of Fine Arts in Prague
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807:Representation in collections
676:. The plaque with the slogan
252:on 18 October 2015. His wife
221:, and since 1999 also at the
1385:People from Trenčín District
833:Gallery of Fine Arts in Cheb
431:Untitled- Pillow (1968–1969)
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230:Association of Medal Artists
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926:Figurama 2010, pp. 124–127
719:, Charles Square in Prague
684:. A plaque with a bust of
1330:ES Gallery: Peter Oriešek
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1067:Faust, 1987, blind print
823:Moravian Gallery in Brno
491:Leda and the Swan (1990)
407:Male Figure (circa 1965)
290:, h. 166 cm, 1968,
242:Mánes Union of Fine Arts
1345:Figurama: Peter Oriešek
836:Gallery Klatovy/Klenová
813:National Gallery Prague
738:Old Town Hall in Prague
699:Mother and Child (1982)
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228:He was a member of the
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50:more precise citations.
1360:Livebid: Peter Oriešek
782:Photographer and model
705:Photographer and Model
240:(1989), member of the
839:Museum of Art Olomouc
369:Journey towards Light
97:Peter Oriešek in 2014
968:Tate: New Figuration
717:Bust of Václav Benda
521:Drawing and painting
479:Monster (circa 1985)
443:Lying (Birth) (1969)
515:Animal (after 2000)
248:(2001). He died in
455:Dead horse (1970s)
357:Anatomy of Silence
307:Anatomy of Silence
1298:978-80-86952-42-0
1229:Author catalogues
1127:Horses, Filaso.cz
801:– memorial plaque
752:Mother with child
682:Velvet Revolution
383:, Atrium Žižkov,
320:and the mythical
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503:Kybelé (1991)
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377:Jindra Viková
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180:Peter Oriešek
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85:Peter Oriešek
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17:
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957:Death Report
952:
941:
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798:Václav Benda
796:
781:
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733:
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686:Václav Benda
677:
671:
668:Realisations
563:
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545:memento mori
532:
524:
393:Adam and Eve
392:
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349:Karel Pauzer
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334:Michelangelo
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133:(2015-10-18)
62:
56:October 2023
53:
34:
1380:2015 deaths
1375:1941 births
540:renaissance
338:Giambologna
326:Renaissance
276:Male Figure
48:introducing
1369:Categories
847:References
391:, 1987), (
365:Extinction
280:Dead Horse
196:Dolná Súča
117:Dolná Súča
109:1941-08-28
31:references
395:, 1988).
371:, 1992).
330:Mannerism
265:Sculpture
234:Tolerance
147:Education
736:, 1975,
536:airbrush
528:airbrush
467:Untitled
381:Fountain
322:Minotaur
278:, 1965,
246:Figurama
1224:Sources
353:Animals
300:pop art
44:improve
1306:
1296:
314:Greece
292:Pillow
288:Figure
284:Figure
250:Prague
238:Lipany
168:Spouse
139:Prague
33:, but
389:Faust
296:Birth
1304:ISBN
1294:ISBN
340:and
328:and
260:Work
236:and
223:VŠUP
190:Life
128:Died
103:Born
1371::
1048:^
1001:^
887:^
875:^
855:^
547:.
344:.
336:,
225:.
198:,
186:.
119:,
534:(
379:(
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107:(
69:)
63:(
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54:(
40:.
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