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the public. The author is not primarily concerned with representation. His work is not about diversity of images and their individual messages. Kornatovský focuses on continuity, the repetition of actions of a ritual character. The subject is, therefore, rather a certain maintenance of the order of events in the rhythm of cyclical (archetypal) time.
271:. According to the author, the drawing reflects feelings, in which the experience of a child is mixed with the empty spaces of an abandoned monastery and the situation of the confined space of a studio. Another variation on the same theme is a stark, almost technical drawing of a broken tube with a dark mouth (
170:
Jiří Kornatovský is mostly known as an author of unique large black and white charcoal drawings of plastic objects on giant cardboard that gained him respect and recognition. These drawings stand outside the Czech artistic tradition due to their artistic rendition, and when they first appeared on the
178:
Kornatovský’s "discovery" of the abstract object that is the carrier of the subjective experience and personal transformation is, by its own simplicity and the number of universal archetypal meanings, unique and independent. When considered in the history of art, it may be compared, for example, to
174:
In his approach, the drawing is mostly a record of its own creation, not a composition of form with arbitrary influence. Up to a certain point, it is a documentation of action. This action is of a psychological and physical character and is designed for private space and not for
153:
He says about himself that he does not know where the artistic work begins and the presence of everyday reality ends. Meditation in the process of the linear layering of the structure of the painting is always present even without him striving for it. He perceives analysis and interpretation in art
324:
The drawings, however, cannot be interpreted merely as a mathematical game. The author often creates them in a monastery cloister over the span of a few years and besides the artistic performance they are also a result of spiritual concentration connected with meditation.
222:, 1987). They are characterised by accurate execution and the use of abstract symbols derived from natural shapes. The composition of the event contains a secret. Space is not defined, the story pours over the horizon where we cannot see (
267:, graphite, cardboard, 220 x 460 cm, 1990–97, GASK) it is necessary to also take into account the social atmosphere by the end of the 1980s and the seemingly hopeless situation of young artists, participants of the unofficial
903:(cz, en) Grafika: Obrazová encyklopedie české grafiky osmdesátých let / Pictorial Encyclopaedia of the Czech prints of the 1980s, 1993, Hošková Vomočilová S, Schleppe S, Středoevropská galerie a nakladatelství, Praha,
39:
Jiri
Kornatovsky’s artistic standpoint and life opinions were formed mostly by his childhood and youth spent in Plasy, where he roamed almost daily, until the age of 21, in an abandoned Cistercian monastery.
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as negative fragmentation of the painting and disintegration of the character of the self. He reflects the aesthetics of St. Augustine mainly when it comes to integration and wholeness.
290:), where the plastic object in the shape of a toroid encloses some abstract country inside. The surface of the rotational body is sometimes disrupted and expands into space (
226:, etching with aquatint, 1988, GASK), the outlined opening into the interior of the object offers only darkness but there is light coming out of the crack on the other side (
961:
294:, 1992). The torus itself represents a perfect shape that has neither end, nor beginning and optically centralises attention to the middle, just like the electric
815:(cz, jap) Jiří Kornatovský a Josef Váchal: Hory a srdce, 2009, Hucl I., Klínková H., Jindra P., Hánová M., Fišer M., sborník, 96 str., Muzeum Šumavy Sušice,
355:
The large format paintings sometimes only capture a part of the depicted object in order to leave space for pondering about the things that surpass us (
96:(1994-1995) and Hohenosig, Germany (1997). During his stay in the USA he held a series of exhibitions and lectures. In 2005 and 2006 he worked in the
313:
This shape also offers the possibility of mathematical transformation, during which the whole object can be turned inside out through eversion (like
260:, charcoal on cardboard 220 x 480 cm, 1989–92). The time range of their creation bears witness to how technically demanding these drawings are.
317:, 1990-7), to work in a 4D space and to decrease the central space through shortening of the axis, leading to final degeneration into a sphere. (
332:
Objects depicted are neither anchored in space, nor related to earth. A mild asymmetry sometimes gives the impression of them growing upwards (
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can be interpreted as an immersion of what was on the surface into the inside, into the darkness, into the closure from the outside world (
835:(cz, en) Jiří Kornatovský: Meditace kresbou / Meditation in drawing, 2003, Janištinová Jirková A, Raimanová I, kat. 36 s., NG Praha,
336:, charcoal on cardboard, 600 x 220 cm, 1988–89). Titles of the meditation drawings offer riddles rather than explanations (
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797:(cz)Jiří Kornatovský : Meditace kresbou, 2011, Fenclová H, Pangrácová L, Kroupová M, kat. nestr., G. Klatovy/Klenová
864:(cz) Jiří Kornatovský: Kresby, 1991, Pánková M, Vojtěchovský M, kat. 20 s., Unie výtvarných umělců České republiky, Praha
883:(cz) Slovník českých a slovenských výtvarných umělců 1950 - 2001, 2001, Pavliňák P, Výtvarné centrum Chagall, Ostrava,
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Giant objects from the beginning of the 1990s offer perfect spatial illusion of voluminous figures of organic shape (
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867:(cz, en, fr, de) Jiří Kornatovský: Nototo (Kresby, grafika), 1989, Raimanová I, kat. 4 s., klášter Plasy
845:(cz) Jiří Kornatovský: Meditace - modlitby, 2003, Kornatovský J, Koval M, kat. 8s., G. J. Jílka, Šumperk
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371:, combined technique on canvas, 100 x 120 cm, 2010). Organic form in the drawing resembling a
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825:(cz, en, jap) Jiří Kornatovský, 2006, Binder I, Mládková M, kat. 12 s., Nadace J a M Mládkových,
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At the end of the 1980s he published a number of spiritual manifestos and in 1991 he co-founded
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870:(cz) Jiří Kornatovský: Kresby, grafika, obrazy, 1989, Machalický J, kat. 8+1 s., SČVU, Praha
206:
At the very beginning there were drawings and large graphic sheets depicting relationships (
16:
936:
858:(en) Jiří Kornatovský: Graphic Drawings, 1995, Pánková M, kat. 4 s., PAAS Gallery, New York
367:, charcoal on cardboard, 220 x 520 cm, 1997–99), or they directly refer to infinity (
233:
At the end of the 1980s
Kornatovský drew abstract playful images dedicated to his family (
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Jiří Kornatovský participated in more than 200 group exhibitions both at home and abroad
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218:, charcoal on paper, 200 x 380 cm, 1988), sometimes with a hidden erotic subtext (
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Faculty of Fine Art and Design, West-Bohemian
University in Pilsen:Jiří Kornatovský
873:(cz) Jiří Kornatovský: Kresby, grafika, 1988, Kotalík J, kat. 8 s., PKO KS Hroznová
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143:
893:(cz) Nová encyklopedie českého výtvarného umění, 1995, Horová A, Academia, Praha,
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From nowhere to nowhere – Forget everything/ You are what you cannot remember/
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GASK – the
Gallery of the Central Bohemian Region, Kutná hora, Czech Republic
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861:(cz) Jiří Kornatovský: Kresby, 1994, tx. Kornatovský J, G. Klatovy/Klenová
76:. In the following years he attended study and creative residences in the
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386:’s treatise on the reflection of the world of ideas and sensory reality (
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848:(cz) Jiří Kornatovský: Kresby, 2002, Tetiva V, kat. 32 s., AJG Hluboká,
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art scene in the middle of the 1980s, they seemed to be an apparition.
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31:, Czechoslovakia) is a Czech painter, draughtsman and printmaker.
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When interpreting the large-format drawing from the same period (
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Aleš South
Bohemian Gallery, Hluboká nad Vltavou, Czech Republic
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in 1977-82, followed by the study of monumental painting at the
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310:, combined technique on canvas, 210 x 220 cm, 2000-2010).
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138:. He introduced and defined the principle of his discovery of
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Alena Potůčková, Czech museum of modern art: Jiří Kornatovský
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Alena Potůčková, Czech museum of modern art: Jiří Kornatovský
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declarative drawing as a process method of artistic creation
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with professors Arnošt Paderlík and Jiří Ptáček (1982–87).
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Consulate
General of the Czech Republic, Los Angeles, USA
394:, combined technique on canvas, 140 x 160 cm, 2007,
306:, combined technique on canvas, 210 x 220 cm, 2006,
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Gallery of Modern Art
Roudnice nad Labem, Czech Republic
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The key to understanding
Kornatovský’s drawings may be
321:, charcoal on cardboard, 220 x 480 cm, 1989–92).
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coil, which induces the magnetic field in its centre (
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From nowhere to nowhere (Silence), 220 x 480 cm (1989)
363:, charcoal on cardboard, 220 x 500 cm, 1990–94,
359:, charcoal on cardboard, 220 x 540 cm, 1989–93,
256:, charcoal on cardboard, 220 x 500 cm, 1990–92,
43:
After graduating from a technical teaching school in
237:, 1989) and celebrating the joy of a newborn child (
485:
329:, charcoal on cardboard, 220 x 280 cm, 2000).
275:, charcoal on cardboard, 220 x 480 cm, 1989).
47:, he studied at the College and High Art School of
379:, charcoal on canvas, 210 x 240 cm, 2005-6).
104:in Prague and again he visited the United States (
962:Academic staff of the University of West Bohemia
928:
488:Private collections in Czech Republic and abroad
421:
390:, charcoal on paper, 280 x 340 cm, 2000-3,
398:, charcoal on canvas, 80 x 100 cm, 2008).
241:, 1988, charcoal on paper, 150 x 360 cm).
646:1993 Nová síň Gallery, Prague, Czech Republic
470:Regional Gallery Karlovy Vary, Czech Republic
458:West Bohemian Gallery, Pilsen, Czech Republic
208:Two – Free variation on an hour of the lovers
492:
411:Award, Graphic Art Triennial, Kraków, Poland
130:in Pilsen. He lectured at the School of the
501:Jiří Kornatovský at Takasaki Gallery (2009)
248:Liturgic meditation, 220 x 460 cm (1990-94)
142:and the approach to it at a lecture in the
920:Information system abART: Kornatovský Jiří
608:1995 Kentler International Drawing Space,
482:Artists Centre, Eindhoven, The Netherlands
302:, charcoal 275 x 705 cm, 2000-20003,
122:He works as a university professor at the
743:"Václav Hájek, Artlist: Jiří Kornatovský"
166:Forget everything, 220 x 460 cm (1990-97)
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473:Regional Gallery Liberec, Czech Republic
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111:In the years 1998-99 he founded his own
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464:Klatovy/Klenová Gallery, Czech Republic
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351:Eternal story, 220 x 500 cm (1990-94)
224:Is anybody else coming? (Countryside)
134:, where he carried out the legendary
957:Academic staff of Charles University
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557:City Gallery, Japan (with J. Váchal)
72:at the international art symposium
582:Pilsen City Gallery, Czech Republic
278:The series of meditation drawings (
126:and at the Art and Design Faculty,
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452:collection, Prague, Czech Republic
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605:Gallery, Prague, Czech Republic
562:Parliament of the Czech Republic
479:Bellini Gallery, Florence, Italy
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721:Authorized CV of J. Kornatovský
663:Plasy monastery, Czech Republic
513:2013 Michel Journiac Gallery -
416:Franz Kafka Prague circle Award
273:From nowhere to nowhere/silence
179:the Black Suprematic square of
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340:, 1990–97, 220 x 520 cm,
239:That and that and that-a-thing
53:Academy of Fine Arts in Prague
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766:Ivo Hucl, Sběrný dvůr, 2013,
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422:Representation in collections
357:Right left, Martin meditation
132:Museum of Fine Arts in Boston
124:Charles University in Prague
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679:St. Nicholas Church, Prague
634:Museum of Fine Arts, Boston
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626:Boston Center for the Arts
596:National Gallery in Prague
526:Galerie du Tableau, (with
434:National Gallery in Prague
128:University of West Bohemia
695:monastery, Czech Republic
688:monastery, Czech Republic
493:Selected solo exhibitions
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254:And out/aerial meditation
68:of Plasy. He created the
579:, Prague, Czech Republic
564:, Prague, Czech Republic
571:, USA (with K. Czerpak)
506:2014 Intuiti Gallery,
428:National Gallery of Art
315:From nowhere to nowhere
308:Meditation by archetype
304:Meditation in archetype
286:(1990, exhibited 2006,
214:, 1989, etching, GASK,
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70:Codes and Signs project
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587:2004 The world paper,
546:2012 Bottega Gallery,
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440:Queensland Art Gallery
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144:Bachelard amphitheatre
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442:, Brisbane, Australia
414:2008 Laureate of the
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334:Meditation by drawing
280:Meditation by drawing
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191:Fish’s Night Song or
183:, White Paintings of
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98:Augustinian monastery
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269:group Confrontations
84:, Poland (1992), in
66:Cistercian monastery
27:(born 2 March 1952,
947:Czech male painters
651:The Hague City Hall
377:Remembering an idea
342:Liturgic meditation
185:Robert Rauschenberg
78:Carmelite monastery
655:1991 OKO Gallery,
567:2006 ASTO Museum,
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338:Meditation eastern
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220:Shape of adventure
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967:People from Plasy
821:978-80-87235-01-0
811:978-80-85050-92-9
803:978-80-87013-31-1
772:978-80-260-3889-4
700:Group exhibitions
430:, Washington, USA
210:, 1988, etching,
61:Hermit Foundation
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681:, Czech Republic
598:, Czech Republic
541:, Czech Republic
537:Hollar Gallery,
436:, Czech Republic
392:St. Augustine II
181:Kazimir Malevich
25:Jiří Kornatovský
20:Jiří Kornatovský
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751:. Retrieved
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937:1952 births
569:Los Angeles
212:All at once
106:Los Angeles
931:Categories
753:2014-08-11
710:References
667:Kortenhoef
284:Meditation
216:And tickle
150:in Paris.
657:Amsterdam
591:, Germany
589:Frankfurt
550:, Ukraine
532:Marseille
388:Augustine
369:88.88.88.
230:, 1988).
193:John Cage
74:Hermit 92
555:Takasaki
534:, France
521:, France
515:Sorbonne
510:, France
373:gastrula
292:In space
148:Sorbonne
88:(1993),
86:Florence
365:Sanctus
146:at the
100:at the
64:in the
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624:1994
603:Hermit
539:Prague
409:Kraków
402:Awards
300:Prayer
296:toroid
117:Prague
94:Boston
45:Pilsen
693:Plasy
691:1980
686:Plasy
684:1985
677:1990
649:1992
601:1997
594:2003
560:2008
553:2009
519:Paris
508:Paris
82:Sejny
29:Plasy
905:ISBN
895:ISBN
885:ISBN
850:ISBN
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817:ISBN
807:ISBN
799:ISBN
768:ISBN
548:Kyiv
158:Work
92:and
35:Life
530:),
228:One
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319:It
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