quinta-feira, 26 de março de 2020

Jan Dočekal | The communicated magic of the worlds by Josef Kremláček

Work and hobby, reason and emotion, order and adventure. The sum of these contradictions is creation. The art style of Josef Kremláček (1937-2015) in the illustration of books for children and youth has a fundamental aesthetic lesson from the traditions of Moravian folk nativity sculpture. Sometimes apparent, sometimes in the suppressed, but always present.

By perfecting little-used forms of creative work, the most important of which is the application of a method called dekalk (sweeping or smashing a magical stain) and spraying colors onto small areas of the image using a stencil. This is the way in which Kremláček arrived at an original artistic manuscript.

More than half of Kremláček's illustrations have been made in the studio, which has a humorous hyperbole. This is how the original pictures were born. They provide fractions of the storyline literary artwork. It aesthetically reflects the profiles of literary heroes. The originality is based on the peculiarities of shapes and color possibilities. It has a source in the author's world and goes a compelling journey into the world of children.

 Poetic magic and fantasy (Kremláček was a poet of imagination) has a bond with Kremláček's childhood and the playfulness he had throughout his life. It has greatly strengthened her in the space of spirit during years of artistic work. Kremláček's illustrations are original works of book graphics. They have a significant content and formal component. Narrative aesthetic way, exaggeration, allegory, wit and didactic help children discover unknown worlds. However, Kremláček's pictures also affect an adult person.

The other half of Kremláček's work of art has the first unity in disunity with half. They are related as sisters, nurses in the applied art technologies. But different in artistic meaning. We are talking about free painting, free graphic sheets, mostly colored lithographs, applied graphics and architectural interiors. There is almost always a connecting formal element. It is a method called dekalk. He has inexhaustible magic power. It grows from the diverse beauty of surrealistic artistic possibilities. Surrealists say they don't need aesthetics, they don't even exist. Before the decalk method, however, the general theory of aesthetics slips off the hat. The enigma of shapes, changing dimensions, and a multitude of meanings is the source of the joy of a sensitive person and his desire for the unknown. Kremláček´s decal found himself randomly while working on a printing press. It happened fifty-five years ago. At first he did not know that dekalk already had a history. Then he became acquainted with her, entered the next stage of developing imagination.

In a specific branch of his Surrealism, Kremláček was famous for holding various recessions. He reveled in unusual jokes. But not jokes in speech. He was funny in the construction of events. He loved going almost theatrical. There were two personalities in Kremláček, an artist and an actor. An artist still influenced by fantasy and surrealism, but also an author of cartoon humor, and an actor in the figures of his illustrations. He invented surprising situations that always had an abundance of surrealist intelligence. He didn't need any collaborators. He had always performed solo. Characters in fairy tales gave the appearance of his friends. They are kept anonymously for many years. The highlight of this magic from other worlds was the establishment of an imaginary camel rental. From her came, imaginary, two-backed animals for walks with the tamer who named himself Yusuf ben Ali. The principle of the play is present, now unchanged, permanently, in every Kremláček's art work. On the one hand, in the themes of sophisticated imaginative landscapes with fictional vegetation resembling sci-fi films, on the other, in technically precise color portrait lithographs, which are witty paraphrases of paintings by Italian Renaissance masters.

Kremláček's work in the area of ​​illustrative as well as in the field of free art is in a relative harmony. This is also the sign of the creator. He is filing in front of our eyes with a story of the rich world of the author's magic.


Agulha Revista de Cultura
Número 149 | Janeiro de 2020
Artista convidado: Lubomír Kerndl (República Checa, 1954)
Editor convidado: Jan Dočekal
Número especial dedicado ao Surrealismo na República Checa
editor geral | FLORIANO MARTINS | floriano.agulha@gmail.com
editor assistente | MÁRCIO SIMÕES | mxsimoes@hotmail.com
logo & design | FLORIANO MARTINS
revisão de textos & difusão | FLORIANO MARTINS | MÁRCIO SIMÕES
ARC Edições © 2020

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