Jan Štursa

Jan Štursa is one of the representatives of figural sculpture work of the early 20th century and is the creator of a range of memorials and smaller sculptures. His artwork is considered to be the basis of Czech Modern sculpture.

He studied at the College of Stonecutting and Sculpture in Hořice where he acquired a good training as a craftsman and a feeling for stone which, alongside bronze, became the primary material for his artwork. Subsequently, he left to work in Germany. In 1899, he enrolled at the Academy of Fine Arts in Prague where he studied at Josef Václav Myslbek's studio. He was Myslbek's pupil, assistant and eventually his successor, taking over the studio when Myslbek left the Academy in 1922. From 1922 to 1924, he was the school's rector. During his stint as a teacher, he taught a whole generation of sculptors, including: Otakar Švec, Jan Lauda, Vincenc Makovský, Josef Wagner and Hana Wichterlová. He also undertook several study trips to Rome, Paris, London and Munich. He was a member of the Czech Academy of Sciences and Arts, SVU Mánes and other art associations.

Štursa's early work was influenced by Secession-style Symbolism. In a poetic fashion he attempted to portray the inner world of the human being and feelings of melancholy. His Melancholy Girl (1906) could be considered to be an iconic statue portraying the life feelings of the young, emerging generation of artists. Girls and women were his ceaseless inspiration, portraying them at first lyrically, and later, in a more sensual, erotic and Civilist manner.

Before the First World War, he was already receiving commissions for monumental sculpture work, such as Humanita (Humanity) and Práce (Labour, 1912-1913) for Hlavkův Bridge in Prague. However, the events of the First Word War interrupted his professional and artistic career. He spent two years at the frontline, and came to terms with his shocking experiences there in his artwork. We can see the waning influence of Cubism in his work Pohřeb v Karpatech (Funeral in the Carpathian Mountains, 1918). His dramatic sculpture called Raněného (Wounded, 1921) is considered to be his finest work dealing with the fate of mankind. He dedicated his final years to portrait work,with his most known work being his portraits of Max Švábinský (1918), T. G. Masaryk (1920-1921) or Alois Jirásek (1921).

The memorial to Bedřich Smetana (1924) in Litomyšl is one of the last memorials he completed. Preserved sketches show that a group sculpture was originally planned. However, he eventually created a remarkably simple sculpture in the Civilist style typical for the 1920s. He concentrated on the figure standing contrapposto, elegantly dressed in formal clothes, arms at sides naturally enclosing the outline of the statue and leading the onlookers gaze to the striking head. The body, leaning slightly to one side, suggests he is listening to an inner voice and an emerging melody. The memorial is set on a plinth designed by the architect Pavel Janák.

1905
Puberty
National Gallery in Prague

1911–1914
Memorial to Hana Kvapilová
Kinský Gardens, Prague

1914
Memorial to Peasant Uprising
Otakar Velínský created the sculpture according to a design by Jan Štursa.
Štursas model is held in the collection of the Town Gallery in Litomyšl
Dolní Újezd (village green in front of the school)

1919
Icarus
National Gallery in Prague

1918–1924
Memorial to Svatopluk Čech
Svatopluk Čech Gardens, Prague

1925
Vítěz
In front of the J. K. Tyl Grammar School
Tylovo nábřeží 682, Hradec Králové