Jiri Kolar, Original Guggenheim Museum Exhibited Jiri Kolar Collage Art Abstract Music Notes, c.1960's-1970's

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Jiri Kolar, Czech (1914-2002) "Musical Notes" Paper Collage & Ink on Paper Hand signed with Initials Lower Right. Dimensions: Sight-7.5" … Read more Jiri Kolar, Czech (1914-2002) "Musical Notes" Paper Collage & Ink on Paper Hand signed with Initials Lower Right. Dimensions: Sight-7.5" x 11". Frame-17" x 21" Circa: 1960's-1970's Provenance: bears label from Guggenheim Museum. Handwritten inscription from the Herbert Lust collection. (His important collection included Painting by Robert Indiana and Frank Stella as well as sculpture by Alexander Calder, Alberto Giacometti and more). Jiří Kolář (1914 – 2002) was a Czech poet, writer, painter and translator. His work included both literary and visual art. Kolář was born on 24 September 1914 in Protivín, Bohemia, Austria-Hungary, in a working-class environment. His father was a baker and his mother a seamstress, and he himself trained early in life as a cabinet maker (which cost him a finger). He later changed trades several times, working as a construction worker, security guard, and bartender, among other jobs. In 1943 he became a full-time writer while living and working in Kladno. He moved to Prague in 1945 to work as an editor of the publishing house Družstvo Dílo. Kolář joined the Communist Party in 1945 but left the Party the same year. Because of his critical stance towards the regime he was not allowed to publish after communists took control in Czechoslovakia in 1948. He married Běla Helclová in 1949. When in 1952 police found his manuscript, Prométheova játra, in the property of Václav Černý he was arrested and spent several months in prison. Kolář was one of a group of several artists, among whom Václav Havel, Václav Černý, Jan Vladislav and Josef Hiršal, who met and discussed in Café Slavia, both during the period leading up to the Prague Spring when the communist regime grew more permissive, and in the period of normalization after the Prague Spring. Kolář's wild behavior lost him former friends (e.g. he threw coffee on Josef Hiršal's shirt and had his soda water poured on him in return).Kolář signed Charter 77 and while on a scholarship to West Berlin, the government decided to force him to emigrate; he was therefore not allowed to return home. From 1980 on he lived in Paris. After 1989 he visited his homeland more and more often. In 1999 Kolář injured his spine and he spent his last years in a Prague hospital. Kolář's poetry was first published in 1938 in a private edition; these early poems are not included in his complete work, probably because they are openly erotic, Thus Křestný list (Baptism Certificate, 1941) is considered his debut. Křestný list and Kolář's three other collections of poems from the 1940s (Sedm kantát, Limb a jiné básně, Ódy a variace) belong stylistically to the existentialist artistic movement of Skupina 42 of which Kolář was a member; other members included Jindřich Chalupecký, Ivan Blatný, Josef Kainar, Jiřina Hauková and Kamil Lhoták. During the years of Stalinism in Czechoslovakia (1948–1953) Kolář wrote poetic diaries – Očitý svědek (Eyewitness, 1949), Prométheova játra (Prometheus' Liver, 1950). In 1957 he wrote a creative re-interpretation of Sun Zi's The Art of War, an ancient Chinese classic on the art of warfare, under the name Mistr Sun o básnickém umění (Master Sun on the Poetic Arts). In 1964 Náhodný svědek (Accidental Witness), a selection of his work from the 1940s was published, and in 1966 a censored selection from his 1950s work came out under the name Vršovický Ezop (Aesop from Vršovice). In the 1960s he started writing experimental poetry, creating new forms of poetry which he gave names such as analfabetogram and cvokogram. In these new forms of poetry the line between the literary and the visual increasingly started to blur, which ultimately led to his experiments in visual art. His first exhibitions in 1937 focused on his assemblage collages. In the 1960s Kolář first combined painting and poetry but he gradually turned completely to experiments in visual art. His work bears a relationship with fluxus art and concrete poetry. In his work he used a scalpel to cut pictures out of magazines. He produced colors in his decoupage collages by gluing on printed fragments of paper from various different sources. His work was influenced by Dada and Bauhaus artists Max Ernst and Man Ray as well as Kurt Schwitters. His collages were intended to influence the viewer's outlook on life; the technique of using fragments of text and images from various different sources was well suited to achieve the effect Kolář wanted, by showing the destruction and fragmentation of the world Kolář inhabited. Simultaneously, by juxtaposition and contrasting of these different fragments the technique of the collage served to create surprising and visually striking new combinations; for instance, the combination of astronomical maps with Braille writing. Kolář invented or helped to develop new techniques of collage – confrontage, froissage, rollage, chiasmage and others. He was included in the landmark 1967 exhibition Serielle Formationen (Serial Formations), held at the University of Frankfurt's Studio Galerie. The exhibition was a pioneering presentation of international tendencies in Minimalism and serial art in Germany. It brought together diverse movements like European Zero, Nouveau Réalisme, Pop Art, Op Art, and American Minimal and Conceptual Art. Kolář was included among 48 artists, including major figures like Carl Andre, Arman, Bridget Riley, Vasarely, Christo, Sol LeWitt, Donald Judd, Agnes Martin, Andy Warhol, and Yayoi Kusama. From the 1960s Kolář's visual artwork was featured regularly in exhibitions by galleries and museums. Some of the more prominent exhibitions of his work were in the New York Guggenheim museum in 1975, in Prague in 1994 in Dům U Černé Matky Boží, in Madrid in 1996 in the Museo Nacional Centro de Arte Reina Sofia. See less