Databáze uměleckých výstav v českých zemích 1820 – 1950

Each spring, the annual exhibitions organized by the Fine Arts Association (Krasoumná jednota) transformed the Žofín Palace into a centre of artistic activity. The 1870 exhibition was open to the public from April 15 to June 17, and like in the previous years, it showcased contemporary domestic and international art.

Shortly after the opening, critical responses lamenting the declining quality of Prague's exhibitions began to appear in the press. Works sent from abroad – which comprised the majority of the show – were described in dismissive terms, with critics noting that under normal circumstances, the exhibition committee would never have accepted such pieces. Reviewers also criticized the poor representation of domestic artists who, as one of the critics put it, "either keep away or have nothing to offer" [Anonymous author 1870a]. Those domestic artists who did participate were judged to lack creative vigor, particularly in their treatment of historical subjects, which could not compare in depth to the historical paintings of Belgian, French, or Polish artists. František Čermák and Karel Javůrek represented this category, with Čermák dismissed as a somewhat untalented painter and Javůrek characterized by the German proverb "brave Leut' aber schlechte Musikanten"—a good person, but a poor musician [Anonymous author, 1870a].

A few weeks later, the periodical Světozor published a more positive review, praising the exhibition's landscape paintings. Karl (Charles) Hoguet – who had died before the exhibition opened – earned acclaim for his landscape scenes, as did Hans Gude and Adolf Stademann [Anonymous author 1870b]. The journal Pokrok also acknowledged the extensive representation of landscapes, while cautioning that this emphasis came at the expense of other genres that the artistic community might have offered [Hostinský 1870]. In addition to landscapes, the exhibition featured works spanning multiple genres, from portraits to genre scenes. Johann Gustav Grünewald's depictions of village children received particular attention – one reviewer called them "outstanding paintings", highlighting their faithful execution, vibrant color, and well-executed composition. The psychological insight of these works by Grünewald was deemed unmatched. Grünewald appeared alongside other genre painters including Karl von Enhuber and Karl M. Webb, as well as the celebrated Carl Spitzweg, whose oil painting Evening in the City provided a visual interpretation of Carl Ditters von Dittersdorf's singspiel Doktor und Apotheker (Doctor and Pharmacist). Other notable Munich genre painters included August Spiess, Heinrich Marr, Karl Neumann, and August Niedmann, while Vienna was represented by Friedrich Friedländer and Johann Till. Czech artists also received recognition. Antonín Dvořák's Night Watch at the Pond Before the Hunt earned praise from both Pokrok and Světozor for its masterful treatment of light and technical execution [Hostinský 1870]. The selection of artworks thus reflected a growing appetite for genre subjects among both artists and the public, who increasingly sought out such works.

The exhibition included a few architectural artefacts, such as Friedrich von Schmidt's design for the restoration of Karlštejn Castle, an architectural model of Old Town Square as it appeared in the 17th century, and a painting of the Church of St. Anastasia in Verona [Anonymous author 1870b].

The Fine Arts Association's annual exhibitions aimed to showcase contemporary artistic trends and provide the public with insight into current developments in the visual arts. Modelled on art salons in France and Austria, they aimed to balance domestic and international contributions. In 1870, however, international artists dominated the show. While this gave visitors broader exposure to European art from centers like Munich, Vienna, and Paris, it significantly reduced the presence of Czech artists. Despite presenting a variety of genres and styles, the exhibition received mostly negative reviews. Commentators noted the uneven quality of the works and an overall decline from previous years. Much of the criticism focused on a lack of originality and a formulaic treatment of subjects, which critics said diminished the exhibition's artistic impact.

Kamila Červinková

Works Cited

Anonymous author 1870a: Anonymous author, Literatura a umění, Světozor IV, 1870, no. 18, 29. 4., p. 144

Anonymous author 1870b: Anonymous author, Literatura a umění, Světozor IV, 1870, no. 21, 20. 5., p. 167

Hostinský 1870a: O. H. [Otakar Hostinský], Umělecká výstava IV., Pokrok II, 1870, no. 154, 9. 6., pp. 1–2

Hostinský 1870b: O. H. [Otakar Hostinský], Umělecká výstava I., Pokrok II, 1870, no. 122, 4. 5., pp. 1–2

Further Reading

Filip – Musil 2021: Aleš Filip – Roman Musil, Epocha salonů. České salonní umění a mezinárodní výstavní scéna 1870–1914, Plzeň 2021

Anonymous author, Umění, Světozor IV, 1870, no. 13, 24. 3., p. 35

Anonymous author, Literatura a umění, Světozor IV, 1870, no. 17, 22. 4., p. 135

Anonymous author, Denní zprávy, Národní listy X, 1870, no. 142, 26. 5., p. 2 

Anonymous author, Kronika umění výtvarného, Květy V, 1870, no. 16, 21. 4.

Anonymous author, Denní zprávy, Pokrok II, 1870, no. 101, 12. 4., p. 2