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This work deals with the experimental art group Cobra which united artists of three countries - Denmark, Belgium and the Netherlands, after the World War II. Although this movement was active only between the years 1948 and 1951, the beginning of this group can be traced in the pre-war period when the future members of the group were influenced by the mainstream art movements. Similarly, we cannot see the year 1951 as the end of the importance of this international art formation. Despite the short duration, the group united number of artists from different countries who then influenced many of future artists and art movements. This work therefore mentions the activity of Cobra members before the actual establishment of the group, attempts to describe in detail its work during its existence, and lastly, it indicates its further heading. A special chapter is dedicated to the connection of the group Cobra to the Czech art. The artists of Cobra drew their main inspiration from the work of arts of specific groups, such as that of children, mentally ill, so called primitive nations, or from the folk art. Alongside that, the artists created their own unique style based on collective and spontaneous work and liberal art expression. The plurality of their art expression and their relationship to other art...

The work is devoted to reflection on the creation of the Czech painter Igor Korpaczewski (1959) in attempt to place it in the context of Czech art history. Igor Korpaczewski has been operating for over twenty years at the Academy of Fine Arts in Prague, where he influenced nearly a generation of painters. His paintings have been present at all major exhibitions (Perfect Tense, 2004, Resetting / Alternative Ways To Objectivity, 2007), trying to grasp the phenomenon of contemporary Czech painting. Despite this an appreciation of his complex formation is still missing. The work is therefore based on sub-articles and methods of oral history in the form of interviews with the artist himself. Korpaczewski has been primarily engaged in figural depiction. His conception of figures is here confronted with the early work of the French philosopher Emmanuel Lévinas. Meeting with Korpaczewski images I understand as the projection of I-Thou relationship, which forms the viewer. Unlike his generational peers who have been trying in the Eighties to depersonalize their work, Korpaczewski has been processing (and still he continues in it) intimate topics that he solidly assessed only in the context of the nineties. It is therefore a purely solitary expression, the relationship can be found (among others in various...