Emil Filla stands as a colossus in the landscape of 20th-century Czech art. A painter, sculptor, graphic artist, theorist, collector, and organizer, Filla was a driving force behind the assimilation and transformation of modern European art movements, particularly Cubism, within the Bohemian context. His life (1882-1953) spanned periods of intense artistic innovation, political upheaval, war, and reconstruction, all of which profoundly shaped his prolific and multifaceted output. He was not merely an adopter of styles but a critical interpreter and innovator who forged a unique path, leaving an indelible mark on the cultural identity of his nation and contributing significantly to the broader narrative of European modernism.
Early Life and Artistic Awakening
Born on April 4, 1882, in Chropyně, a small town in the Moravia region of what was then Austria-Hungary (now the Czech Republic), Emil Filla's journey into the art world began somewhat unconventionally. Initially pursuing studies in business, he soon felt the pull of the visual arts. He moved to Prague, the vibrant cultural heart of Bohemia, and enrolled at the prestigious Academy of Fine Arts in 1903. However, Filla quickly grew disillusioned with the conservative academic training offered at the institution.
His independent spirit and thirst for more contemporary forms of expression led him to leave the Academy prematurely in 1906. This act of rebellion signaled his early commitment to forging his own artistic path, rejecting outdated conventions in favour of exploring the nascent movements emerging across Europe. During these formative years, Filla traveled, absorbing influences from various sources. A pivotal early influence was the work of the Norwegian Expressionist master, Edvard Munch, whose emotionally charged canvases resonated deeply with Filla's own burgeoning artistic temperament. The raw psychological intensity and bold use of colour in Munch's work left a noticeable imprint on Filla's early paintings.
The Influence of Expressionism and Osma
Before fully embracing Cubism, Filla was significantly involved with Expressionism. He became a key member of the avant-garde group "Osma" (The Eight), founded in 1907. This group, which included other prominent Czech artists like Bohumil Kubišta, Antonín Procházka, and Otakar Kubín (later known as Othon Coubine), sought to break away from the prevailing Impressionist and Art Nouveau styles. They were drawn to the Fauvist experiments they encountered in Paris and the powerful emotionalism of German Expressionism, as well as the aforementioned influence of Munch.
Osma's exhibitions in 1907 and 1908 were groundbreaking events in Prague, introducing the public to a more radical, emotionally driven, and formally experimental approach to painting. Filla's work from this period often features distorted forms, intense colours, and a palpable sense of psychological tension, reflecting the group's shared interest in subjective experience and modern anxieties. His engagement with Osma was crucial in establishing his reputation as a leading figure among the younger generation of Czech artists seeking new artistic languages. He also briefly participated in the activities of the established SVU Mánes (Mánes Union of Fine Arts), but his progressive views soon led him and others towards forming a more radical faction.
The Embrace of Cubism
The true turning point in Filla's career came around 1910-1911 with his discovery of Cubism. The revolutionary works of Pablo Picasso and Georges Braque, which systematically deconstructed form and perspective, offered Filla a powerful new framework for artistic exploration. He quickly absorbed the principles of Analytic Cubism, characterized by its fragmented objects, muted palette (often ochres, greys, and browns), and simultaneous viewpoints. Filla did not merely imitate; he synthesized Cubist principles with his existing Expressionist sensibilities, creating a dynamic and often emotionally charged version of the style.
His commitment to Cubism was solidified through direct contact with its originators. Filla traveled frequently to Paris, the epicenter of the avant-garde. In 1914, a significant year, he personally met both Georges Braque and Pablo Picasso. These encounters undoubtedly deepened his understanding and commitment to the Cubist revolution. He became one of the most dedicated and innovative proponents of Cubism outside of France, adapting its formal language to his own thematic concerns, which often revolved around still lifes, portraits, and figure studies.
Filla's engagement with Cubism extended beyond painting. He is recognized as one of the world's earliest creators of Cubist sculpture. Works like "Head" (Hlava) and various sculpted nudes from around 1911-1913 translate the fragmented planes and geometric structure of Cubist painting into three dimensions. These pioneering efforts demonstrate his profound understanding of Cubist principles and his versatility across different media, placing him alongside sculptors like Picasso himself and Alexander Archipenko in the early exploration of Cubist form in sculpture.
Founding Skupina and Czech Cubism
Filla's drive and organizational skills were instrumental in consolidating the Czech avant-garde. In 1911, feeling constrained by the more moderate elements within SVU Mánes, Filla, along with a group of like-minded progressive artists, architects, and writers, broke away to form the "Skupina výtvarných umělců" (Group of Fine Artists). This group became the primary engine of Czech Cubism, extending its principles beyond painting and sculpture into architecture and applied arts – a unique development largely specific to the Czech context.
Key members who joined Filla in this venture included the painters Antonín Procházka, Vincenc Beneš, Josef Čapek, Václav Špála, and Otakar Kubín; the sculptor Otto Gutfreund; the architects Josef Gočár, Pavel Janák, and Vlastislav Hofman; and theorists like Václav Vilém Štech. Other artists associated with the group's orbit included Bedřich Feigl and Jan Pácl. Skupina organized exhibitions, published the influential journal "Umělecký měsíčník" (Artistic Monthly), and actively promoted a distinctly Czech interpretation of Cubism, often termed Cubo-Expressionism due to its frequent blend of formal rigor with emotional intensity. Filla was a central figure, both artistically and intellectually, within this vibrant collective until its activities were disrupted by World War I.
Artistic Style: Synthesis and Evolution
Emil Filla's artistic style is most strongly associated with Cubism, yet it was never static. His early works show clear links to Expressionism and Fauvism, visible in the bold colours and expressive brushwork influenced by artists like Edvard Munch and the French Fauves. His transition to Cubism around 1910 marked a significant shift towards geometric fragmentation and a more analytical approach to form, heavily indebted to Picasso and Braque.
His Cubist period, particularly before World War I, focused heavily on still life compositions. Objects like guitars, glasses, pipes, newspapers, and fruit bowls were dissected and reconstructed on the canvas, exploring multiple viewpoints and the interplay of planes. Works like "Still Life with a Black Guitar and Fruit" exemplify this phase, showcasing his mastery of Synthetic Cubism's flatter planes and incorporation of collage-like elements, albeit rendered in paint. He developed a distinctive palette, often richer and more varied than the monochrome beginnings of French Cubism.
During the interwar period, Filla's style continued to evolve. While remaining rooted in Cubist structure, his work sometimes incorporated elements reminiscent of Surrealism, particularly in the treatment of the human figure, which could become distorted and dreamlike, as seen in paintings like "Sedící dívka" (Sitting Girl). He maintained a dialogue with international trends, including Dutch Neoplasticism (De Stijl), though his core remained tied to a figural base infused with Cubist principles. His graphic work, especially etchings and drypoints, became increasingly important, allowing for sharp linearity and dramatic contrasts.
Representative Works and Thematic Concerns
Filla's oeuvre is vast, but several works stand out as particularly representative of his artistic achievements and thematic interests. His early Expressionist leanings are visible in works like "Dostoevsky Reader" (Čtenář Dostojevského, 1907), which captures a sense of psychological intensity through stark contrasts and brooding atmosphere.
His engagement with Cubism is perhaps best exemplified by his still lifes and figure studies from the 1910s and 1920s. "Salome" (1912) and "Morning" (Ráno, 1912) show his early assimilation of Analytic Cubism. "Head of Man with Pipe" (Hlava muže s dýmkou, c. 1915) is a classic example of his mature Cubist style, fragmenting the human head into geometric planes while retaining a recognizable structure. "Still Life with a Black Guitar and Fruit" (mentioned earlier) represents his engagement with Synthetic Cubism's brighter colors and flatter shapes.
The human figure remained a constant preoccupation. Works like "Woman's Head" (Hlava ženy, 1928) or "Two Women" (Dvě ženy, 1934) demonstrate his ongoing exploration of the figure through a Cubist lens, often imbued with a certain monumentality or psychological depth. His sculptures, such as "Cubist Head" (Kubistická hlava, 1913), are crucial contributions to the development of modern sculpture.
Later in his career, particularly during the turbulent 1930s and the war years, Filla turned to themes of struggle, conflict, and mythology. His powerful print cycles, such as "Boje a zápasy" (Fights and Struggles) and "Heracles Fights the Demons," used mythological allegories (like the figure of Heracles) to comment on the contemporary political situation and express resistance against rising fascism. These works are characterized by dynamic compositions, dramatic chiaroscuro, and a palpable sense of urgency and defiance.
World War II: Resistance and Imprisonment
Emil Filla was not just an artistic innovator; he was also a man of strong convictions. He was vehemently opposed to fascism and the Nazi ideology that swept across Europe in the 1930s. His political stance was not merely theoretical; it was deeply felt and openly expressed, making him a target when Germany occupied Czechoslovakia in March 1939.
On the very first day of the occupation, September 1, 1939 (coinciding with the invasion of Poland), Filla was arrested by the Gestapo along with other prominent Czech intellectuals and patriots. He was initially imprisoned in Prague and later deported to Nazi concentration camps. He spent nearly six years incarcerated, first in Dachau and later in Buchenwald.
Despite the horrific conditions and severe health problems – he suffered several heart attacks during his imprisonment – Filla's spirit remained unbroken. He continued to create art whenever possible, often using rudimentary materials. His experiences in the camps undoubtedly deepened the themes of struggle and suffering in his work. He also managed to write theoretical texts, including the manuscript "O svobodě" (On Freedom), a testament to his enduring belief in human dignity and resistance against tyranny. His survival was remarkable, and he returned to Prague after the liberation in 1945, physically weakened but spiritually resilient.
Post-War Career and Later Life
Upon his return to liberated Czechoslovakia, Emil Filla was hailed as a national hero and a leading figure in the art world. He resumed his artistic activities with renewed vigor, although the trauma of the war years left a lasting impact. In 1945, he was appointed professor at the Academy of Arts, Architecture, and Design (VŠUP) in Prague, a position that allowed him to influence a new generation of Czech artists.
In his later years, Filla's artistic focus shifted somewhat. While still employing Cubist principles, he increasingly turned towards landscape painting, particularly inspired by the scenery of the Bohemian Central Highlands (České středohoří). These late landscapes, often rendered in vibrant colours and dynamic compositions, possess a unique blend of structural rigor derived from Cubism and an almost lyrical, expressive quality, perhaps reflecting a newfound appreciation for nature and life after the darkness of the war.
He continued to be a prolific artist, theorist, and respected public figure until his death. Emil Filla passed away in Prague on October 7, 1953, following another heart attack. He was buried in the cemetery in Střešovice, Prague, leaving behind a rich and complex artistic legacy.
Legacy and Influence
Emil Filla's influence on Czech art is immeasurable. He was arguably the most important proponent of Cubism in Bohemia, successfully adapting the Parisian movement to a local context and infusing it with unique expressive qualities. Through his work with Osma and Skupina, he played a crucial role in establishing modernism in Czechoslovakia, breaking decisively with 19th-century academic traditions.
His role extended far beyond his own artistic production. As a theorist, his writings helped to articulate the philosophical underpinnings of Czech modernism, exploring concepts like primitivism and the essence of artistic creation. His book "O podstatě a tvorbě" (On Essence and Creation, sometimes cited as "On Life and Creation," 1912) was an important early text. As an organizer and promoter, he facilitated connections between Czech artists and the international avant-garde, bringing exhibitions of French and German modern art to Prague.
As an educator at VŠUP after the war, he directly shaped the post-war generation of artists. His extensive collection of art, which included not only European modern works but also significant examples of African, Oceanic, and Asian art, demonstrated his broad interests and likely influenced his understanding of form and expression, anticipating later interests in non-Western art by European modernists. His work continues to be celebrated in the Czech Republic and is recognized internationally as a significant contribution to the development of Cubism and 20th-century modern art. Artists like Josef Čapek, Otto Gutfreund, Vincenc Beneš, Antonín Procházka, and many others in his circle benefited from his energy and vision.
Controversies and Anecdotes
Like many influential figures, Filla's life was not without its points of contention or interesting side notes. His early departure from the Academy of Fine Arts highlights his rebellious streak and dissatisfaction with established norms from a young age. The constant evolution of his style, while demonstrating artistic dynamism, also likely sparked debate among critics and peers during his lifetime regarding his artistic direction.
A significant and rather tragic controversy arose after his death concerning his estate. Filla had amassed a substantial collection of art, including his own works and pieces by other artists, as well as ethnographic artifacts. His wife and heir, Hana Filová (née Krejčová), faced immense difficulties with the Czechoslovak state authorities regarding inheritance taxes. Due to complex legal issues and possibly political factors in the post-war communist state, a large portion of the estate, including valuable artworks, was effectively confiscated by the state, leading to protracted disputes and significant financial hardship for his widow. This episode underscores the often-fraught relationship between artists' legacies and state bureaucracy, particularly in politically charged environments. His unwavering anti-fascist stance, while heroic, placed him in extreme danger, a path not all artists were willing or able to take so overtly.
Conclusion
Emil Filla remains a pivotal figure in the history of modern art. He was a central protagonist in the story of Czech Cubism, a movement unique in its breadth and its extension into architecture and design. More than just an artist, he was an intellectual force – a theorist, teacher, collector, and organizer who fundamentally shaped the course of modern art in his homeland. His ability to synthesize international influences like Expressionism and Cubism with his own vision and temperament resulted in a powerful and enduring body of work. From his early expressive canvases and pioneering Cubist sculptures to his defiant wartime prints and lyrical late landscapes, Filla's art reflects a life lived intensely, dedicated to artistic innovation and human freedom. His legacy continues to resonate, securing his place as one of the giants of Czech culture and a significant contributor to the European avant-garde.
