Databáze uměleckých výstav v českých zemích 1820 – 1950

The 1905 exhibition of Edvard Munch's paintings organized by the Mánes Fine Arts Association is considered one of the milestones of Czech modern art. It is worth mentioning, however, that Munch was not entirely unknown in Prague at the beginning of the 20th century. Articles about this Scandinavian Expressionist appeared as early as 1892 in connection with his Berlin exhibition which polarized the German art scene. Contemporary critics reproached Munch for his crudeness and rawness and the conservative part of the artistic community saw him as an eccentric oddity. Munch befriended the Berlin bohemians – a group of artists frequenting The Back Piglet tavern. There, he also met the writer Staniszlaw Przybyszewsky, his first biographer, who was in touch with the Czech editors of the journal Moderní revue from the 1890s on. 

The Czech public was first introduced to Munch's work at the 65th anniversary exhibition of Krasoumná jednota (Fine Arts Association) at the Rudolfinum in 1897. However, his six canvases were lost among the entirely conformist art at the exhibition and so the truly influential encounter with his work did not happen until 1905.

The Munch exhibition in Kotěra's pavilion in the Kinsky Garden took place between February 4 and March 12, 1905. Very little is known about its preparation. It was likely initiated by Jan Štenc who became familiar with Munch's art at international exhibitions. The poster was designed by Jan Preisler, one of the artists for whom Munch was a great source of inspiration. Karel Svoboda, an art critic and reviewer in Volné směry, wrote a piece in the catalogue. Although the show was open for less than five weeks, it was attended by approximately 3,000 visitors. It was clearly well planned as its scope was large with numerous loans from abroad and from Štenc's own collection. The pavilion housed  as many as 180 artworks including oil paintings, portraits and etchings.  

As in Berlin, the exhibition in Prague received rather negative reviews. Next to a satirical text comparing one of Munch's painting to an advertisement for “egg soup noodles” [Špachtle 1905],  F. X. Harlas and K. B. Mádl, both renowned Czech art critics, completely rejected Munch's style. Others, on the other hand, admired it, including writers Jiří Karásek and Miloš Marten. These authors encouraged Czech artists to study Munch's works in order to create “new art.” The painter and art critic Miloš Jiránek wrote that Munch expanded the possibilities of modern art. 

The first Czech artwork to reflect Munch's expressive naturalism was probably František Bílek's sculpture Astonishment, first exhibited in 1907. In all likelihood, it was inspired by Munch's Scream. Jakub Schikaneder was deeply touched by the Prague 1905 exhibition because for him, just like for Munch, motifs of death presented a very personal theme. Munch's influence could be most strongly felt among the artists of the Osma (The Eight) group . Of all its members, Emil Filla is most often mentioned in connection with Munch because he later published a text in which he described his impressions from the exhibition. Some of Filla's paintings, such as the Night of Love, make direct reference to Much's works. In 1906, Filla and another Osma member, Arnošt Procházka, painted their self-portraits according to Munch's 1895 Portrait with Cigarette.

By organizing this exhibition, the Mánes Association touched a few sensitive spots in the Czech art world but it also stirred the smouldering national struggles concerning equitable language laws for Czechs. Patriotic students who felt responsible for culture and art presented in Bohemia and Moravia at the beginning of the 20th century composed a vulgar tune about Munch. In the end, however, this conflict paradoxically helped popularize and establish the new art. 

In 1982, Jiří Kotalík organized the exhibition Edvard Munch and Czech Art at the National Gallery in Prague. Prepared in cooperation with the Munch Museum in Oslo, this was the first exhibition to sum up and evaluate Munch's contribution to Czech art. 

Barbora Dostálová

Works Cited

Špachtle 1905: Křenoslav Harmofil Špachtle, O anarchismu v umění, Šípy XVIII, 1905, no. 13, 4. 3., pp. 259–260

Further Reading

Jiří Kotalík – Arne Eggum – Gerda Woll, Edvard Munch a české umění. Obrazy a grafika ze sbírek muzea E. Muncha v Oslu (exh. cat.), Národní galerie v Praze 1985 

Miroslav Lamač, Edvard Munch, Praha 1963

Miloš Marten, Edvard Munch, Praha 1905

Jaromír Pečírka, Munch (výbor obrazů), Praha 1939

Jindřich Šámal, Edvard Munch a Praha, Umění XI, 1963, no. 6, pp. 449–468

Otto M. Urban – Jarka Vrbová – Tomáš Vrba, Edvard Munch. Být sám: obrazy – deníky – ohlasy, Oslo 2006

Petr Wittlich, Edvard Munch, Praha 1985

Petr Wittlich, Edvard Munch a české umění, Umění XXX, 1982, pp. 422–447

Archival Sources

Prague City Archives, Fonds Spolek výtvarných umělců Mánes Praha, výstavní činnost, složky jednotlivých výstav [Mánes Fine Arts Association Prague, exhibitions, files of the individual exhibitions], 1905, Edvard Munch
hyperlink at: http://katalog.ahmp.cz/pragapublica/permalink?xid=785EA772220E11E0823600166F1163D4&scan=1#scan

Anonymous author, Malířská upřímnost, Volné směry IX, 1905, Nr 3, pp. 94–95

Anonymous author, Výstavy Mánesa, Zlatá Praha XXII, 1905, Nr 14, 20. 1., p. 168