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.
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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
UMA AGULHA NO MUNDO INTEIRO
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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