Miroslav Vystrcil Paintings & Artwork for Sale | Miroslav Vystrcil Art Value Price Guide

Jun. 06, 2024
MIROSLAV VYSTRČIL 1924 - 2014 - METAMORPHOSIS II
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Around 1959 Miroslav Vystrčil left the classical figure and never returned to it. He replaced modelling with metal and welding, descriptive details with clean and simple lines. From 1967 he was a member of the artistic group Concretists Club. From the same period, in connection with commissions for public space, the artist developed a new morphology close to abstract organic structure. The offered work Proměna I represents a design of an entrance sculpture for Sklo Union Teplice. A reminder of Vystrčil's work, which has an important place in the post-war history of art, was made possible through retrospective exhibitions in 2017 in Cheb and 2019 in Náchod. The work comes from the artist's estate. Published by GAVU Cheb, Miroslav Vystrčil. Retrospective, 2017. P. 54. Signed: unsigned
Arthouse Hejtmánek
Jun. 06, 2024
MIROSLAV VYSTRČIL 1924 - 2014 - LEGS
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Miroslav Vystrčil Studied at the School of Arts and Crafts in Brno and at the Academy of Fine Arts under J. Horejc and B. Stefan. His original studio in Kampa served as a meeting place for many artists. In 1957-1958 he exhibited with the group Máj 57. The offered work Legs is a larger granite version alongside the metal sculpture. The work comes from the artist's estate, where it was part of a Japanese garden landscaped by the artist with concrete elements of sculptural quality. The metal variant published by: GAVU Cheb, Miroslav Vystrčil. Retrospective, 2017. Pg. 50. Signed: unsigned
Arthouse Hejtmánek
Jun. 08, 2023
MIROSLAV VYSTRČIL 1924 - 2014 - A FIGURE
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The figure emerging from the incised material is expressed through a simplified sign - a hieroglyph as is the case with natural peoples. Miroslav Vystrčil Studied at the School of Arts and Crafts in Brno and at the Academy of Fine Arts in Brno under J. Horejc and B. Stefan. His studio in Kampa served as a meeting place for important Czech artists. From 1957 to 1958 he exhibited with the group Máj 57. Around 1959, Miroslav Vystrčil abandoned the classical figure, replacing modelling with metal and welding, descriptive details with clean and simple lines in expressive composition. His retrospective exhibitions in 2017 in Cheb and 2019 in Náchod are worth mentioning. The work comes from the artist's estate. Signed: unsigned
Arthouse Hejtmánek
Jun. 08, 2023
MIROSLAV VYSTRČIL 1924 - 2014 - A TORSAL SEATED FIGURE
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The plaster torso on a rustic wooden high plinth represents the early work of Miroslav Vystrčil, who belongs to a generation of artists that went through a very complicated period of study and had only a very short time to exhibit. In the 1960s, the Máj 57 group, of which he was a part, significantly enriched the Czech art scene qualitatively, and although Miroslav Vystrčil was not very interested in the presentation and promotion of his work, his contribution to the preservation of the development of Czech art during the toughest times of communist persecution cannot be overlooked. The sculpture on offer comes from the artist's estate. Signed: unsigned
Arthouse Hejtmánek
Dec. 08, 2022
MIROSLAV VYSTRČIL 1924 - 2014 - A CROWN OF THORNS
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Around 1959 Miroslav Vystrčil left the classical figure and never returned to it. He replaced modeling with metal and welding, and descriptive details with clean and simple lines. In addition to the extraordinary craftsmanship of the metal, the Crown of Thorns shows the spiritual dimension of the artist's work by referring to Christian iconology. Vystrčil's generation, strong in number and quality, was going through a very complicated period and had only a very short time to exhibit. In the 1960s, the Máj 57 group, which Vystrčil helped found, significantly enriched the Czech art scene. The work on offer comes from the artist's estate.
Arthouse Hejtmánek
Dec. 08, 2022
MIROSLAV VYSTRČIL 1924 - 2014 - A LYING ACT
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Experimentation with this technique is characteristic of this artist at this time. The original adaptation with cobalt blue passart and gluing in the edges with staniole. Signed: Unsigned
Arthouse Hejtmánek
Jun. 14, 2022
MIROSLAV VYSTRČIL 1924 - 2014 - A WOMAN
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Vystrčil's generation was going through a very complicated period and had only a very short time to exhibit. In the 1960s, the Máj 57 group made a significant qualitative contribution to the Czech art scene, and although Miroslav Vystrčil was not very interested in the presentation and promotion of his work, his contribution to the preservation of the development of Czech art during the most difficult times of communist persecution cannot be overlooked. Around 1959 Miroslav Vystrčil left the classical figure and never returned to it. He replaced modeling with metal and welding, descriptive details with clean and simple lines in a striking composition. The offered sculpture on a sandstone plinth comes directly from the artist's garden, analogous to the Japanese-style house that also served as his studio after he moved from his house in Kampa. The Gallery of Fine Arts in Cheb has a similar object in its collection.
Arthouse Hejtmánek
Jun. 14, 2022
MIROSLAV VYSTRČIL 1924 - 2014 - THE TWO
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Miroslav Vystrčil Studied at the School of Arts and Crafts in Brno and at the Academy of Fine Arts under J. Horejc and B. Stefan. His studio in Kampa served as a renowned meeting place for artists of the time. From 1957-to 1958 he exhibited with the group Máj 57. The work, evoking a conversation between two figures, dates from the period when he abstracted the figure into a simple abbreviation; in parallel, he also began working on sculptures for architecture and public space. Published by GAVU Cheb, Miroslav Vystrčil. Retrospective, 2017. P. 48.
Arthouse Hejtmánek
Dec. 14, 2021
MIROSLAV VYSTRČIL 1924 - 2014 - A FIGURE
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The line that permeates the character is actually a paraphrase of primitive art. The character is still the central motif of Miroslav Vystrčil's work, but it is expressed through a simplified character - a hieroglyph, as is the case with natural nations. Miroslav Vystrčil He studied at the School of Arts and Crafts in Brno and at the Academy of Arts, Architecture and Design in Prague under J. Horejc and B. Stefan. His studio in Kampa served as a place where artists could meet. In the years 1957 - 1958 he exhibited with the group May 57. Around 1959 Miroslav Vystrčil left the classical figure and never returned to it. He exchanged modeling for metal and welding, descriptive details for clean and simple lines in a striking composition. Published by: GAVU Cheb, Miroslav Vystrčil. Retrospektiva, 2017. Technique: Silver foil on black paper, adjusted on a board, Signed: Unsigned
Arthouse Hejtmánek
Dec. 14, 2021
MIROSLAV VYSTRČIL 1924 - 2014 - A SUN
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Miroslav Vystrčil studied at the School of Arts and Crafts in Brno and at the Academy of Arts, Architecture and Design in Prague under J. Horejc and B. Stefan. His studio in Kampa served as a place where many artists met. In the years 1957–1958, he exhibited with the group May 57. Around 1959, Miroslav Vystrčil left the classical figure and never returned to it. He exchanged modeling for metal and welding, descriptive details for clean and simple lines in a striking composition. Vystrčil's generation, strong in number and quality, went through the study in a very complicated period and had only a very short time to exhibit. Since 1967, he has been a member of the Klub Konkrétistů artistic group. It is worth mentioning his retrospective exhibitions in 2017 in Cheb and 2019 in Náchod.
Arthouse Hejtmánek
Dec. 14, 2021
MIROSLAV VYSTRČIL 1924 - 2014 - COMPOSITION AND SELF PORTRAIT
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A unique period record of Miroslav Vystrčil's work, which presents his own and relatively gloomy self-portrait and abstract composition with a glued animal jaw. Around 1959, Miroslav Vystrčil completely abandoned the figural themes and never returned to them. Miroslav Vystrčil studied at the School of Arts and Crafts in Brno and at the Academy of Arts, Architecture and Design in Prague under J. Horejc and B. Stefan. His studio in Kampa served as a place where artists could meet. In the years 1957 - 1958 he exhibited with the group May 57. Technique: Oil, bone, wood, Signed: Lower right "M.V."
Arthouse Hejtmánek
Jun. 17, 2021
MIROSLAV VYSTRČIL 1924 - 2014 - A CLOUD
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The model for the sculpture at the housing estate in Opava is manifested by Vystrčil's tendency to stretch the sculptures into round shapes and round them harmoniously. The lobed shape from 1967 is the beginning of a new wave of work with a golden core - the sun. Vystrčil's generation, strong in numbers and qualities, went through the study in a very complicated period and had only a very short time to exhibit. In the 1960s, the Máj 57 group significantly enriched the Czech art scene qualitatively, and although Miroslav Vystrčil was not very interested in presenting and promoting his work, his contribution to preserving the development of Czech art in the most difficult times of communist persecution cannot be neglected. Published by: GAVU Cheb, Miroslav Vystrčil. Retrospective, 2017. p. 55. Technique: Metal, stone, patina, Signed: Unsigned
Arthouse Hejtmánek
Jun. 17, 2021
MIROSLAV VYSTRČIL 1924 - 2014 - STRUGGLE
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Miroslav Vystrčil was looking for clean, but not dull shapes in his realizations. In the sculpture Struggle he worked on the theme of speed, energy, crystallization of matter due to high pressure, and shows his sense of cubization. Around 1959, Miroslav Vystrčil left the classic figure and never returned to it. He exchanged modeling for metal and welding, descriptive details for clean and simple lines in a striking composition. Set of a model and realisation. Published: GAVU Cheb, Miroslav Vystrčil. Retrospektiva, 2017. Page 39. Technique: Patinated metal, Signed: Unsigned
Arthouse Hejtmánek
Jun. 17, 2021
MIROSLAV VYSTRČIL 1924 - 2014 - A BULL HEAD
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The exaggerated and abbreviated form of the work The Bull's Head dates back to the period before Vystrčil's work in the May 57 group. Later in the 1960s, Miroslav Vystrčil elevated this form to an even more symbolic form, which had a hieroglyphic impression. Published: GAVU Cheb, Miroslav Vystrčil. Retrospektiva, 2017. Str. 21. Technique: Ink, paper, Signed: Unsigned
Arthouse Hejtmánek
Apr. 11, 2021
Vystrčil Miroslav 1924–2014 - Three Shape Studies of Figures, 1963
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Vystrčil Miroslav 1924–2014 Three Shape Studies of Figures, 1963 polished brass, height 14 cm, 6 cm, 5.8 cm Exhibited by: Miroslav Vystrčil - Retrospective, GAVU Cheb 29. 6. - 17. 9. 2017, and in GVU Náchod in 2019 Lit .: Miroslav Vystrčil - Retrospective, GAVU Cheb 2017, p. 43.
Auction House Sypka
Dec. 10, 2020
MIROSLAV VYSTRČIL 1924 - 2014 - RECUMBENT
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The curve that permeates the work Recumbent is actually a paraphrase of the author's Lying Act from 1955. The female figure is still the central motif of his work, but it is expressed through a simplified character - a hieroglyph, as is the case of indigenous nations. Miroslav Vystrčil studied at the School of Arts and Crafts in Brno and at the Academy of Arts, Architecture and Design in Prague under J. Horejc and B. Stefan. His studio in Kampa served as a place where artists could meet. In the years 1957 - 1958 he exhibited with the group Máj 57. Around 1959 Miroslav Vystrčil left the classical figure and never returned to it. He exchanged modeling for metal and welding, descriptive details for clean and simple lines in a striking composition. Published by: GAVU Cheb, Miroslav Vystrčil. Retrospective, 2017. p. 41. Technique: Paint, yellow paper adjusted on base
Arthouse Hejtmánek
Dec. 10, 2020
MIROSLAV VYSTRČIL 1924 - 2014 - RECUMBENT NUDE
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The Recumbent nude (also Recumbent) is one of four plaster sculptures that Miroslav Vystrčil presented in May 1957 at the Young Art exhibition. The exhibition became the cradle of the art association Máj 57. The statue of the Recumbent is depicted in period photographs at the head of one of the halls, although it is not in the exhibition catalog. While we observe abstraction in the direction of cubization in Palcr's work and also work of Chlupáč, Miroslav Vystrčil stretches his sculptures into round shapes, models them smoothly and rounds them harmoniously. Vystrčil's generation, strong in number and quality, went through the study in a very complicated period and had only a very short time to exhibit. In the 1960s, the Máj 57 group significantly enriched the Czech art scene qualitatively, and although Miroslav Vystrčil was not very interested in presenting and promoting his work, his contribution to preserving the development of Czech art in the most difficult times of communist persecution cannot be neglected. Published by: GAVU Cheb, Miroslav Vystrčil. Retrospective, 2017. p. 11 and 25. Technique: Plaster
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