Zprávy památkové péče 2017, 77(3):197-206

From the history of Czech mosaicism

Veronika Vicherková¹, Magdalena Kracík Štorkánová²

¹ Fakulta architektury ČVUT v Praze

² AVU v Praze

Within the Czech lands, there are a large number of mosaics made in glass, stone, and ceramics. The oldest mosaic is the Last Judgement at the Cathedral of St. Vitus, Wenceslas, and Adalbert from 1370-1371, which remained an isolated work for a long time. In the second half of the 19th century, efforts to reconstruct it led to an increase in interest in the art of mosaics and also to the phenomenon of Czech mosaicism. The art of mosaics gradually emancipated in Bohemia and became very popular, so it may be aptly described as a "national" art.
In the first period, mosaic was mainly associated with the figures of mosaicist Viktor Foerster and architect Osvald Polívka. After the First World War, domestic glass enamels were produced and large orders were executed for the representation of the Czechoslovak Republic. In the 1930's, there existed several independent mosaic studios. The field of mosaic began to be taught at the School of Applied Arts in Prague and the Glass School in Železný Brod. The key personalities of the development were František Kysela, Marie Viktorie Foersterová, Josef Novák, Stanislav Ulman, Jan Tumpach, and Mikhail Ajvaz. The great artists of the time took part in the preparation of mosaic designs, including Max Švabinský. Czech mosaic was also successful in foreign exhibitions. After the post-war February coup, mosaic workshops were nationalized and merged under the title of the Artistic Crafts Center. Mosaics soon became the most popular instrument of political propaganda. They eventually managed to jettison their ideological content (although the ideology, of course, continued to be expressed through the artwork until 1989, as in all other art disciplines), and became one of the most progressive art forms in architecture. Mosaic once again successfully represented Czechoslovakia on the international scene. In addition to mosaic from split glass enamel tesserae, a specific form of stone structural mosaic and mosaic made of prefabricated pressed tesserae developed. The method of paneling allowed for the further application of this art form.
After 1989, interest in mosaic as an art form decreased, and the system of support for public art ceased. Mosaic still bears the stigma of an ideological art form, leading to a neglect of creative works from the post-war era. The lack of qualified restorers and poor material availability is also a problem in protecting and preserving historic mosaics. The artistic type of the mosaic in itself and as a phenomenon of the Czech mosaic has not yet been sufficiently evaluated or appreciated.

Keywords: Czech mosaicism, split glass enamel mosaic, stone structural mosaic, mosaic from pressed tesserae, history of inspired creation in Bohemia, art of the 20th century

Published: September 1, 2017  Show citation