František Bílek

František Bílek is considered to be one of the most significant figures of the Czech Secession Symbolism scene. His early artwork, in its exceptional originality stemming from deep, mystical, religious experience, reaches beyond the border of the Czech environment. His work included sculpture, graphic art, drawing, architecture, and the interior design of churches and houses and the design of book bindings.

After graduating from the grammar school in Tábor, he continued his studies, from 1887 to 1890, at the Academy of Fine Arts in Prague under the tutorship of Maxmilián Pirner. Due to complications with sight (partial Daltonism, rendering it impossible for him to differentiate between some colours), he transferred to the State Polytechnic School in Prague where he studied sculpture under the tutorship of Josef Mauder.

In 1890, he won a Vojtěch Lanna scholarship and, in 1891, left for Paris to the private Académie Colarossi where, in 1892, he created Golgota, Hora lebek and Orba (Golgota, Mountain of Skulls and Ploughing). However, this artwork did not conform to the traditional concept of religious themes with their expressive Naturalism and were not viewed favourably by the scholarship board in Prague which revoked Bílek's scholarship. Therefore, he returned to his native Chýnov where he built a house and studio. Later, he lived and worked in his Prague villa. He undertook several study trips to Italy, Germany and France. He was a member of the Mánes Association of Fine Artists, Umělecká Beseda and the Association of Czech Graphic Artists HOLLAR.

In spite of initial negative criticism of his work, František Bílek did not falter and continued working in solitude. His work reflects his deep sense of religion and agonizing questions concerning human existence, as well as idealistic dreams. In 1899, he created one of his major artworks – Krucifix (Crucifix) in which the figure of Christ becomes the personification of painful feelings of guilt.

Besides religious themes, he also dealt with the fate of the Czech nation, contemplated its history and appealed for its spiritual revival. Furthermore, he turned his attention to key figures throughout Czech national history – Jan Hus (1901) or Jan Žižka with Raised Right Arm (around 1912). It was mainly his interest in the figure of Jan Hus and other motifs connected with the Czech Reformation that brought him closer to the Hussite Congregation in whose buildings we can find many of his works of art.

Woodcuttings prevail in his work but he also worked with fired clay. He created a range of tombstones and monuments. He also carried out drawings and graphic work, especially employing the technique of wood engraving. He illustrated books, some of them written by of his closest friends – the authors Julius Zeyer and Otokar Březina. He published many of his thoughts and reflections widely – in book form: Stavba budoucího chrámu v nás, 1908 (Building a Future Temple within Ourselves) and Jak mi dřeva povídala (As Wood Told Me), 1946.
 

1909
Žal (Sorrow)
Tomb of Václav Beneš Třebízský, Prague, Výšehrad

1922
Obětovaný (Sacrificed)
Hořovice (park in front of chateau)

1923
Jan Blahoslav
Upper Square, Přerov

1924
Bedřich Smetana
Jabkenice

1928
Mistr Jan Hus (Master Jan Hus)
Husovy sady, Tábor

1932
Tvůrce a jeho sestra Bolest (The Creator and his Sister Pain)
Tomb of Otokar Březina, Jaroměřice nad Rokytnou