Databáze uměleckých výstav v českých zemích 1820 – 1950

In November 1902, Mikoláš Aleš celebrated his fiftieth birthday, an occasion that many seized upon to repay what they felt was a long-standing debt to this underappreciated artist. As Karel Boromejský Mádl later wrote, “Aleš's approaching anniversary brought with it his apotheosis. His victory, the triumph of an entire life and all his art, was now complete. A new retrospective exhibition held in the Mánes Pavilion in 1902, and the literary-critical, or just panegyrical, response it received, had placed Aleš, with absolute unanimity, among the saints of the Czech artistic heaven.” [Mádl 1912, p. 38] Mádl's somewhat exalted rhetoric was characteristic of the era, with dozens of newspaper articles, shorter pieces and longer feuilletons being written in a similar spirit in connection with Aleš's jubilee. Alongside detailed accounts of celebrations, congratulations, and honorary gifts, the anniversary prompted thoughtful analyses and characterizations of Aleš's work. The range of periodicals that published texts about his birthday and exhibition reflects the diversity of his work, demonstrating the extent to which his prolific career as an illustrator was embedded in the public consciousness. Notable publications include Věstník sokolský, which covered Aleš's designs for the Sokol gymnastic movement; Český učitel, which featured his illustrations for children and young people; Obrana zemědělců, which celebrated Aleš's rural origins and his depictions of the Bohemian countryside; and Architektonický obzor, which showcased his sgraffito designs. The humour magazine Švanda Dudák, to which Aleš contributed, and Zlatá Praha, which regularly reproduced his work, each dedicated a whole issue to the artist for his fiftieth birthday. Contributors to the Aleš issue of Zlatá Praha included Karel Boromejský Mádl, Karel Václav Rais, Aleš's old friend Alois Jirásek, and Josef Štolba, editor of the comic journal Paleček to which Aleš had contributed for many years. All the texts were celebratory in tone, fully embracing and deepening the arguments and characterisations of Aleš's work first formulated during his 1896 retrospective by Karel Matěj Čapek-Chod, Renáta Tyršová, Vilém Mrštík, and numerous other writers, many of them anonymous. His name was associated with qualities such as originality, Czech national character, naturalness, warmth, and modesty; he was hailed as a poet, a brilliant artist, the most beloved and most democratic of Czech painters, to whom Czech society owed a debt long overdue. Some writers also used the jubilee as an opportunity to criticize public institutions and private patrons, casting an ironic light on the hypocrisy of certain well-wishers. Právo lidu pointedly remarked, “As a matter of fact, the finest compilation of Aleš's work was produced not by a wealthy patriotic corporation but by the Mánes, a young and impecunious artists' association” [Anonymous author 1902a, p. 7], referring to the three-volume monograph published in 1896 by the Mánes Fine Arts Association. And it was precisely this "impecunious association of young artists" that celebrated the fiftieth birthday of its honorary chairman by organizing the most extensive monographic exhibition of Aleš's work to date.

This was the sixth exhibition held by the Mánes Association and the third to take place in the Kinsky Garden pavilion at the foot of the Petřín Hill. Built in 1902 to designs by Jan Kotěra, the exhibition pavilion hosted three shows that same year: a monographic exhibition of Auguste Rodin's work (from May to August), a group exhibition entitled Modern French Art (from August to November), and the Aleš retrospective under discussion. Aleš thus became the first Czech artist to present a comprehensive survey of his work in this entirely new and highly prestigious exhibition venue. The show had originally been planned to open on Aleš' birthday, November 18, but as newspaper reports noted (Čas Oct. 18, 1902, Národní listy Oct 22, 1902), installation of the central steam heating system – undertaken free of charge by the Vinohrady engineering company of J. Štětka – was still in progress in the galleries. The exhibition therefore opened on Tuesday, November 25, 1902, with a formal inauguration at eleven o'clock and public admission from noon. Originally scheduled to close on December 31, it was extended due to popular demand until Monday, January 19, 1903.

In fact, the exhibition consisted of three simultaneous displays. The Mánes Association took advantage of the pavilion's constructional flexibility, with movable partitions allowing the space to be divided as required. For this occasion, it was arranged into four rooms. The two largest rooms were devoted to Aleš, while the two smaller rooms housed exhibitions of works by Antonín Hudeček and French printmakers, respectively. For Hudeček, this was his first substantial public showing as a young member of the Mánes Association. The French prints had originally been intended for the preceding Modern French Art exhibition but were excluded due to space constraints. The winter exhibition presented 139 works by Aleš and 33 by Hudeček, including Psyche and Evening Calm, as well as a series of paintings reflecting his recent travels in Italy. According to Volné směry, there were 160 French prints, though the catalogue and the newspaper Národní listy give the figure as 74. The official title of the exhibition, as printed on the poster designed by Vladimír Županský, was “M. Aleš, A. Hudeček, French Prints.” Županský, who had also designed the celebrated promotional material for the Rodin exhibition, chose for this "triple" event an elegantly simple composition centred on a circular motif interwoven with linden and other foliate branches.

As expected, art critics commented on the unusual combination of three distinct collections on display. While none of them took strong issue with it, their texts made it clear that they experienced the exhibitions as three independent units with completely different artistic and emotional characters, and they recommended that visitors approach each on its own terms: "After Aleš and Hudeček, one must quickly transport oneself into other worlds, other views, other currents – or better still, divide the exhibition into three separate visits, for the sake of complete impression and the power of associative thought." [Mráz 1902, s. 289] František Xaver Jiřík described the show as "an interesting novelty in its bold conjunction of three wholly independent exhibitions and utterly dissimilar artistic personalities." [Jiřík 1903] A contributor to Naše doba likened the arrangement to staging "the most graceful and artistically most refined ballet immediately after a Wagner opera." [A. Nk. 1902–1903 p. 231] The most extensive discussion of the curatorial concept came from a reviewer in Katolické listy.  [Anonymous author 1902b] The Mánes Association itself offered no detailed account of the exhibition's conceptual rationale – neither in the catalogue nor in its annual report – and it seems likely that the arrangement arose from circumstance rather than design: Aleš's jubilee, the overflow of French prints from the previous show, and the complementary addition of Hudeček's work. In any event, the surviving reviews and notices are uniformly positive towards all three collections, despite their diversity.

As for the dominant Aleš section, this was by far the most comprehensive presentation of his work ever assembled, with a considerable number of pieces on public view for the first time. Reviewers drew particular attention to the fact that the cycles Vlast (The Homeland), Živly (The Elements), and Sirotek (The Orphan) were shown in full; visitors could also view drawings of rural life, illustrations to folk songs, and sketches for the painting Rakoczy, Csárdás, Gypsy Woman. The exhibition catalogue reveals that the display included Aleš's sgraffito designs for the façades of residential buildings in Prague and elsewhere, including Pardubice Town Hall, as well as designs for the interior decoration of the Libušín chalet, a cover design for Zlatá Praha, and a self-portrait. Lenders included František Šimáček, Jan Otto, the widow of Alexander Brandejs, Alois Jirásek, Tomáš Garrigue Masaryk, and Svatopluk Čech. An entertaining footnote is provided by a letter from early December in which the Director-General of the Bohemian Provincial Bank wrote to the Mánes Association observing that, in his view, the cartoons for the mosaic decoration of the bank's façade were conspicuously absent from the exhibition, where "their vivid colours would have considerably enlivened the master's display." He then offered to lend the cartoons to the show while it was already in progress. Whether these cartoons were added in the exhibition remains unclear; contemporary press reports make no mention of it, and spatial constraints would likely have made this impossible. The lack of space seemed also to have dictated the somewhat unsystematic arrangement of the exhibits: the catalogue indicates, for example, that sections of the pictorial cycles were not hung together as unified wholes. This is confirmed by a photograph of the Aleš gallery published in Volné směry, which shows drawings and sketches installed in two rows, with a bust of Aleš (cat. no. 140) placed on a plinth at the centre of the room, and behind it a cartoon for the lunette Trutnov from the Vlast cycle (cat. no. 87). The bust had been modelled for the occasion by Bohumil Kafka, who depicted Aleš with a slight sideways tilt, wearing his favourite czamara jacket. It remains the best-known sculptural portrait of the artist; casts of the bust were offered for sale during the exhibition, first through the Mánes Association and later through the art dealership of František Topič. Topič also incorporated the bust into one of his shop window displays – promotional arrangements in which a bust of a writer or artist was surrounded by books or reproductions published by the Topič printing house. [Fabini 2021, s. 123, 127] Kafka's bust of Aleš was later installed in the Pantheon of the National Museum and on Aleš's tomb at the Slavín cemetery.

The exhibited works in all three collections, including the bust, were offered for sale. Press reports paid particular attention to sales from the Hudeček section (Moon on the Open Sea, The Dam, etc.) and the French print sections, which may explain why Hudeček's collection was partially supplemented during the course of the exhibition, and some of the French prints were replaced around mid-December. This would also account for the discrepancy in the reported number of graphic works on display. In the case of Aleš, sales negotiations with private owners were mentioned only in the Národní listy of December 20, presumably because many of his exhibits already had private owners who had lent them to the exhibition at the Mánes Association’s request. One such loan was reported in the regional journal Hlasy Pojizerské on November 23: “Aleš’s original painting of St. Wenceslas, held in Turnov private collection, had been lent at the request of the Mánes Fine Arts Association to the master’s retrospective exhibition held in Prague on the occasion of his jubilee.” [Anonymous author 1902c, p. 4] The Turnov region had a particular affinity with Aleš, rooted above all in his large canvas The Slaughter of the Saxons beneath Hrubá Skála (1895), which had represented the region at the Czecho-Slavic Ethnographic Exhibition. The local press repeatedly urged readers to visit the Prague show, and one of Turnov’s bookshops had a portrait of Aleš displayed in the window, surrounded – perhaps in imitation of Topič's window display – by special commemorative issues of Prague's illustrated magazines and specialized journals dedicated to the jubilarian.

The sixth exhibition of the Mánes Association was clearly popular with both the public and the domestic press, as attested by the volume of coverage and the high attendance figures that prompted its extension by more than two weeks. The gallery was open daily from 9 am to 4 pm. On Sunday, November 30, the exhibition welcomed 300 visitors; by December 7 the total number of visitors had reached 1000 (Národní listy, December 7); a mere ten days later that figure had doubled; and in the final week of December alone, a further thousand came (Národní listy December 31, 1902). Total attendance reached 3,596, and 1,019 exhibition catalogues were sold, along with eleven French prints and nine of Hudeček's paintings [Prague City Archives]. Official announcements published in the leading daily newspapers drew particular attention to interest from abroad, citing the visit of a representative of the Viennese artist association who had come to explore the conditions under which works by Aleš and Hudeček might be shown in Vienna’s Künstlerhaus.

In connection with the Aleš section specifically, the press regularly reported on organized visits by academic and regional associations (Sázavan, Říp, the Dobroslav society of Hradec Králové, the association of academics from western Bohemia Krakovec, the society of Czech Jewish academics), as well as numerous visits from outside of Prague and school groups (several of them led by Alois Bouda, professor at the Imperial-Royal secondary school in Kladno, the father of the artist Cyril Bouda, and a personal friend of Aleš). Reviewers noted visits by parents with children, remarking on the particular fascination Aleš's illustrations held for young visitors, and drew attention to the importance of artistic education for children and youth. In its reverberations and reception, this triple exhibition reflected the worlds of different audiences: the Aleš collection drew organised excursions from societies, rural communities, and schools, representing the spirit of national awakening and artistic enlightenment (there were even reports that the exhibition would be followed by a travelling display of Aleš's works for provincial towns), while the French prints and Hudeček's work appealed primarily to bourgeois collectors with an eye on contemporary artistic currents.

For the sake of completeness, it is worth noting that on the occasion of his jubilee Mikoláš Aleš was made an honorary citizen of his native village of Mirotice and an honorary member of the Union of Fine Arts. The same Union submitted a proposal to the Prague City Council to decorate the vestibule of the Old Town Hall based on Aleš's designs – a project that was not realized until 1935–38, some three decades after Aleš created his designs in 1904. The Pilsen amateur theatrical society Tyl organized two lecture evenings in his honour, Pilsen having a particular claim on Aleš through his sgraffito designs on many of the city’s buildings. Publishers and booksellers also responded to the jubilee: the Prague publishing house of B. Kočí brought out a previously unknown cycle of drawings, The Elements; a monograph by K. D. Mráz was published by Josef Svoboda of Vinohrady; the Vinohrady publisher Alois Wiesner issued editions of the Manuscripts of Zelená Hora and Dvůr Králové and the Komenský Teachers' Association produced a reproduction of Aleš's nativity scene as a Christmas gift. The year 1902 thus emphatically confirmed Aleš's place in Czech visual art, albeit a place that was singular, even idiosyncratic. Aleš himself received the exhibition with gratitude, as recalled six years later by Edvard Bém, who had served as the exhibition's secretary: "I remember how, during the run of the exhibition, he came to the pavilion in the Kinský Garden – a visit from the curatorial board of the Modern Gallery had been announced, to discuss the possible acquisition of one of his works. He arrived early in the morning, buoyant as a child, happy and smiling, full of warmth. He looked at his 'pictures', awaiting the 'gentlemen', some of whom were his greatest admirers. He noticed every speck of dust on glass and frame and removed it himself, or had it removed. He wanted everything clean, festive. After a long time, he was seeing his Homeland cycle again. — Who can comprehend what passed through his soul that day, what he thought, what he remembered. — A genius with broken wings." [Bém 1908, p. 8].

Anežka Mikulcová

Works Cited

A. Nk. 1902–1903: [A. Nk.], Umělecké výstavy. Výstava Alšova, Naše doba. Revue pro vědu, umění a život sociální X, 1902–1903, no. 1–12, pp. 228–231

Anonymous author 1902a: Anonymous author, Mikuláš Aleš, Právo lidu XI, 1902, no. 317, 18.11., pp. 6–7

Anonymous author 1902b: Anonymous author, Umělecký obzor. Naše výstavy (M. Aleš, Jan Hudeček, Francouzská grafika), Katolické listy VI, 1902, no. 349, 22. 12., pp. 1–2

Anonymous author 1902c: Anonymous author, Oslava jubilea malíře Mikoláše Alše, Hlasy Pojizerské. Časopis nepolitický, věnovaný okresům Turnovskému, Mnichovo-Hradišťskému, Železnobrodskému, Semilskému, Lomnickému, Českodubskému XVII, 1902, no. 22, 23. 11., p. 4

Bém 1908: Edvard Bém, Genius se zlomenými křídly, Venkov. Orgán České strany agrární III, 1908, no. 202, 28. 8., pp. 7–8

Fabini 2021: Pavel Fabini, František Topič. Příběh nakladatele a obchodníka s uměním, Praha 2021

Jiřík 1903: František Xaver Jiřík, Výtvarné umění. VI. Výstava spolku výtvarných umělců „Manes“, Zvon. Týdenník belletristický a literární XXX, 1903, no. 12, p. 167

Mádl 1912: Karel Boromejský Mádl, M. Aleš, Praha 1912

Mráz 1902: K. D. Mráz, VI. Výstava spolku „Manes“, Rozhledy. Revue umělecká, politická a sociální XIII, 1902, no. 12, 20. 12., pp. 287–289

Further Reading

Anežka Kučerová, Kult umělce na přelomu století. A. Rodin a M. Aleš podle M. Švabinského (bachelor thesis), Department of Art History FF UK, Praha 2015

Archival Sources

Prague City Archives, Fonds Spolek výtvarných umělců Mánes, Výstavní činnost, složka k výstavě M. Aleš, A. Hudeček, Francouzská grafika [Mánes Fine Arts Association, Exhibitions, file for the exhibition M. Aleš, A. Hudeček, French prints] inv. no. 3977, sign. 4.1, box 43

https://katalog.ahmp.cz/pragapublica/Zoomify.action?xid=77C1697E220E11E0823600166F1163D4&entityType=10117&entityRef=%28%5En%29%28%28%28localArchiv%2C%5En%2Chot_%29%28unidata%29%29%28679918%29%29&scanIndex=0

Anonymous author, Výstava mistra Mikoláše Aleše – Ant. Hudečka francouzské grafiky v paviloně pod Kinského zahradou, Právo lidu. Časopis hájící zájmy dělníků, maloživnostníků a rolníků XI, 1902, no. 322, 23. 11., p. 6

Anonymous author, Výstava mistra Mikuláše Aleše, Antonína Hudečka a francouzské grafiky v paviloně pod Kinského zahradou, Právo lidu. Časopis hájící zájmy dělníků, maloživnostníků a rolníků XI, 1902, no. 324, 25. 11., p. 4

Anonymous author, Mistr Mikoláš Aleš, Jizeran XXIII, 1902, no. 88, 15. 11., p. 2

Anonymous author, Oslava jubilea malíře Mikoláše Alše, Hlasy Pojizerské. Časopis nepolitický, věnovaný okresům Turnovskému, Mnichovo-Hradišťskému, Železnobrodskému, Semilskému, Lomnickému, Českodubskému XVII, 1902, no. 22, 23. 11., p. 4

Anonymous author, Mistr Mikuláš Aleš, Štítný. Neodvislý týdenník českého jihovýchodu II, 1902, no. 41, 1. 11., p. 4

Anonymous author, Lumír, Časopis zábavný a poučný III, 1903, no. 20, 20. 4., p. 243

Anonymous author, Výstavy, Volné směry. Měsíčník umělecký VII, 1903, no. 2, p. 84

Anonymous author, Výstava mistra Mikuláše Aleše v paviloně pod Kinského zahradou, Čas XVI, 1902, no. 317, 18. 11., p. 4

Anonymous author, Výstava mistra Mikuláše Alše, Čas XVI, 1902, no. 321, 22. 11., p. 4

Anonymous author, Beseda. Mikuláš Aleš (Kronika k dnešnímu otevření jeho výstavy), Čas XVI, 1902, no. 324, 25. 11., pp. 2–3

Anonymous author, Beseda. Výstava mistra Mikuláše Aleše, Antonína Hudečka a francouzské grafiky, Čas XVI, 1902, no. 324, 25. 11., p. 4

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Anonymous author, Beseda. Výstava mistra Mikuláše Aleše – Antonína Hudečka a francouzské grafiky v pavilloně pod Kinského zahradou, Čas XVI, 1902, 19. 12., no. 347, p. 4

Anonymous author, Čeština Alšova. K výstavě Alšových prací uspořádané Manesem, Čas XVI, 1902, 24. 12., no. 353, pp. 2–3

Anonymous author, Beseda. Výstava mistra Mikuláše Aleše – Antonína Hudečka a francouzské grafiky v pavilloně pod Kinského zahradou, Čas XVI, 1902, no. 353, 25. 12., p. 6

Anonymous author, Výstava Alšova umění v Praze, Lidové noviny X, 1902, no. 273, 27. 11., p. 4

Anonymous author, Pražská umělecká výstava, Lidové noviny X, 1902, no. 276, 30. 11., p. 4

Anonymous author, K dnešním padesátým narozeninám mistra Mikuláše Alše, Národní listy XLII, 1902, no. 308, 9. 11., p. 10

Karel Boromejský Mádl, Mikoláš Aleš, Národní listy XLII, 1902, no. 315, 16. 11., p. 13

Anonymous author, Výstava mistra Mikuláše Alše v pavilloně pod Kinského zahradou, Národní listy XLII, 1902, no. 321, 22. 11., p. 2

Anonymous author, Výstavy. Výstava mistra Mikuláše Alše – Antonína Hudečka a francouzské grafiky, Národní listy XLII, 1902, no. 322, 23. 11., p. 3

Anonymous author, Výstavy. Výstava mistra Mikuláše Alše, Antonína Hudečka a francouzské grafiky, Národní listy XLII, 1902, no. 324, 25. 11., p. 2

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Anonymous author, Výstavy. Výstavy. Výstava Mikuláše Alše, Antonína Hudečka a francouzské grafiky, Národní listy XLII, 1902, no. 329, 30. 11., p. 3

Anonymous author, Výstavy. Výstava Mistra Mikoláše Alše, Antonína Hudečka a francouzské grafiky, Národní listy XLII, 2. 12. 1902, no. 331, p. 2

Anonymous author, Výstavy. Výstava mistra Mikoláše Alše – Antonína Hudečka a francouzské grafiky, Národní listy XLII, 1902, no. 333, 4. 12., p. 3

Anonymous author, Výstavy. Výstava mistra Mikoláše Alše, Antonína Hudečka a francouzské grafiky, Národní listy XLII, 1902, no. 334, 5. 12., pp. 3–4

Anonymous author, Výstavy. Výstava mistra Mikoláše Alše – Antonína Hudečka a francouzské grafiky, Národní listy XLII, 1902, no. 335, 6. 12., p. 2

Anonymous author, Výstavy. Výstava mistra Mikoláše Alše, Antonína Hudečka a francouzské grafiky, Národní listy XLII, 1902, no. 336, 7. 12., p. 3

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Anonymous author, Výstava mistra Mikoláše Alše, Antonína Hudečka a francouzské grafiky, Národní listy XLII, 1902, no. 342, 14. 12., p. 3

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Anonymous author, Výstavy. Výstava mistra Mikoláše Alše, Antonína Hudečka a francouzské grafiky, Národní listy XLII, 1902, no. 353, 25. 12., p. 3

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