b. 14th of November 1926, Prague-Hostivice, Czech Republic
Education:
1942−1945, State Graphic School, Prague (Karel Muller)
1945−1950, Academy of Arts, Architecture and Design in Prague (Karel Svolinský)
Awards, Exhibitions:
Exhibition of Czechoslovak Graphic Art, Poland & Soviet Union, 1955
2nd International Exhibition of Film Posters, Versailles, 1961
Honorary Artist, ÚPF (Ústřední Půjčovna Filmů / State Film distribution), 1961
Czechoslovak Poster, Havana, 1962
Biennale Brno 1964, 1966, 1970, 1972 (dated only until 1972)
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Czechoslovakia Liberated movie poster by Naděžda Bláhová, 1975.
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Moving ahead in alphabet we would almost missed on one of the very important Czech women graphic artist of the Sixties poster design. Incident could occur easily, there is no evidence of movie poster of Naděžda Bláhová in our poster archive that would point to Sixties. On our research through the history of Czechoslovak film poster we are finding out that we should stop and do a little rewind. Naděžda Bláhová has exhibited since the Fifties!
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Hold-up movie poster by Naděžda Bláhová, 1975.
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Small appearance of Naděžda Bláhová’s movie posters in our collection is not accidental. She created possibly not more than thirty movie posters and some of them are real rarities. Editor for publishers of children books for some time, paradoxically to the movie posters shown in this article Naděžda Bláhová was mostly illustrating books for kids.
Her poster designs as can be seen on the images still owe some to illustration, but are evolved into rapid graphics and strong typography. Total opposite to that kid’s story. Minimalist movie posters with excellent lettering overtaking almost one third of the poster. Her beautiful typography layout is also worth noting.
On the image above we can see Naděžda Bláhová talked graphics respectively. It is the snippet of her work from The International Exhibition of Poster and Promotional Graphics 1970’s catalogue1 . It shows the cover of the magazine called Typografia published in 1960’s Czechoslovakia. (You can also see some other Biennale participants from the movie poster section – Rudolf Altrichter, Robert Brož or Josef Flejšar) Cover did not need to be necessarily in black and white, catalogue photographs were usually printed as such. We will leave filling the colours to you.
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Note: this showcase is part of our ongoing article Film posters / Made in Czechoslovakia. The story of film posters.
II. Bienále Užité Grafiky Brno ’66, Medzinárodní Výstava Knižní Grafiky a Ilustrace, Moravská Galerie v Brně. / 2nd Biennale of Graphic Design Brno ’66, The International Exhibition of Book Graphics and Illustrations, Moravian Gallery Brno, 1966
IV. Bienále Užité Grafiky Brno 1970, Medzinárodní Přehlídka Plakátu a Propagační Grafiky, Moravská Galerie v Brně. / 4th Biennale of Graphic Design Brno 1970, The International Exhibition of Poster and Promotianal Graphics, Moravian Gallery Brno, 1970
V. Bienále Užité Grafiky Brno 1972, Medzinárodní Výstava Ilustrace a Knižní Grafiky, Moravská Galerie v Brně. / 5th Biennale of Graphic Design Brno 1972, The International Exhibition of Illustrations and Book Graphics, Moravian Gallery Brno, 1972
1. Typography, magazine cover, pen drawing, 31 x 23.4, 1969 – IV. Bienále Užité Grafiky Brno 1970, Medzinárodní Přehlídka Plakátu a Propagační Grafiky, Moravská Galerie v Brně. / 4th Biennale of Graphic Design Brno 1970, The International Exhibition of Poster and Promotional Graphics, Moravian Gallery Brno, 1970 (p.138)
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1982 – Grand Prix for portrait work, Tuzla, Bosnia and Herzegovina
1984 – Prize of the Ministry of Culture of Bosnia and Herzegovina for portrait work at International Biennial of Portrait, Tuzla
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Happiness movie poster by Stanislav Vajce, 1966.
Barefoot in the Park movie poster by Stanislav Vajce, 1967.
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[quote]“Stanislav Vajce’s art of painting – if by this we mean the art of masterfully guiding the brush – resolutely rejects the academic approach to painting and replaces it with a sensitive and sweeping painting style.”4 [/quote]
It’s almost tradition that many Czechoslovak poster designers were involved in painting or had some sort of fine art study background. 1950s were accumulating incredible potential and vitality among artists, but political climate of totalitarianism was breeding machine-like art and did not allow any personal burst out.5 In mid 50s Stalinist era was slowly ceasing to extinction and for the following decade Czechoslovakia was witnessing quite surprising changes. Many artists were meeting up in newly created art groups or were allowed solo exhibitions. However, political apparatus was still in charge as the movie poster commissioner had a good number of contemporary artists circulating on their list.
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I Was Nineteen movie poster by Stanislav Vajce, 1968.
Tanta Zita movie poster by Stanislav Vajce, 1968.
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Pure fascination awaits for those who choose to observe movie posters of Stanislav Vajce closely. His inspiration seems endless and same goes to his ability to work with such an infinity. Stanislav Vajce’s devotion to art matter started fairly early in his age. As a 15 year old boy, he traveled daily to Klatovy in order to apprentice as a sign-painter and gilder.6 This affection remained with him ever since; in his future art, as well as he was frequently using gold and hand typing in his poster work.
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Elvira Madigan movie poster by Stanislav Vajce, 1969.
Fathom movie poster by Stanislav Vajce, 1969.
[quote]“Vajce is also in habit of listening to music while painting when he is alone in his studio. ”7 [/quote]
Watch out for Susie! movie poster by Stanislav Vajce, 1970.
Pierre and Paul movie poster by Stanislav Vajce, 1970.
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Stanislav Vajce’s movie posters are real joy to look at, he blends many different techniques that are meeting in very amusing results. There is no limitation to his designing approach. He likes to play with the surface and texture, mixing montage, collage and obviously the brush stroke. The use of every day objects and body parts are repeatedly reoccurring. His use of eye cutouts is almost as striking as the famous scene’s from Luis Buñuel’s and Salvador Dalí’s Un Chien Andalou, eye element keeps returning in several of his posters. Stanislav Vajce’s poster designs are only a step away from his paintings, but unlike in his fascinating assemblages, he likes to employ that cinematic touch in his posters and that is the use of the photograph. Breaking boundaries (in design) seems the most natural to him. His movie posters are pure visual poetry with certain tenderness and delicacy.
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The Nice Bourgeois Guy movie poster by Stanislav Vajce, 1970.
Twelve chairs movie posters by Stanislav Vajce, 1971.
The Lawyer movie poster by Stanislav Vajce, 1971.
Troubleshooters movie poster by Stanislav Vajce, 1972.
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Between 1964 − 1972 Stanislav Vajce designed 24 movie posters. He emigrated together with his family to West Germany in 1987 where they live ever since.
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Interview with Stanislav Vajce’s wife Eva:
We felt very privileged and lucky at the same time when we’ve heard from Stanislav Vajce’s daughter in law Kirsten. We are willing to make an interview with exile poster artist for so long and are constantly trying to find those “channels”, but we were never as close. It did not take long and we were granted with the reply from Stanislav’s wife Eva Vajce89 . We were very happy to find out that she would try to answer some of our questions. Unfortunately Stanislav Vajce’s health does not allow him to participate in this interview. Several questions regarding actual poster designing processes had to be deleted, but we believe Mrs. Eva’s fascinating replies are telling more than we could ever ask for.
[quote]“At the beginning I have to let you know that my husband is seriously ill and unfortunately he will not be able to give answers to your questions. In regards to your effort in trying to approach Stanislav, I would love to try to answer some of them, at least briefly, according to my knowledge.”[/quote]
Angel Messenger, 1991
Smile, 1991
Gentle Girl, 1991
Coquette, 1991
We’ve learned that after your studies at Secondary School of Applied Arts in Uherské Hradiště (1954 – 58) you graduated from Academy of Arts, Architecture and Design in Prague (1959 – 63). What were the possibilities for a young graduate of the art school in the mid 1960s in the totalitarian state, in embrace of Communist propaganda and social realism?
[quote]“My husband studied at the Academy of Arts, Architecture and Design in Prague a monumental painting under the supervision of professor Fišárek. Since he was not in the Communist Party, he did not expect to be able to live of painting, or to get any sort of architectural commissions and began to devote himself to book graphics. He discovered the art of gramophone record covers was not efficient enough. Record company Artia10 had business success around the world with top-class recordings of classical music, but had sales difficulties due to the appearance of the product. Records with his packaging were the attraction for foreign buyers. Along with that, he started to design posters, illustrations, etc.”[/quote]
Harlequin, 1989
Behind the Curtain, 1988-89
I Had a Dream, 1994
Antique Landscape, 1999
Between 1964 – 1972 you’ve been working on movie posters, similarly as many other contemporary artists. Why was the poster making so popular among artists and what brought you to designing?
[quote]“Poster designs were relatively well paid at that time, thus quite a fight/competition among the graphic artists, it was simply a question of existence. Otherwise, my husband did not belong to these typical “graphic artists”, which is why, as I suppose, he was not represented on poster exhibitions, even though the quality of his work deserved it. On the contrary he did not care about the appreciation, it was indifferent and unfamiliar to him. The commissions for the posters were coming from Mrs. XX, I do not remember her name anymore, because Stanislav was sympathetic and did not ask for any. There was the so-called art committee made out of artists such as Vaca, etc., similarly as with all art commissions. The members of such a committee were nominated by the Union of Fine Artists and they were politically engaged to the party, in many times it did not matter how good their art was. The most of the contracts were distributed among themselves. If Stanislav occasionally passed, it was always because of the high quality of his artwork, he was always aside of art groups or unions. Graphic artists were holding together quite strongly. Perhaps, in my opinion, they had complex from “painters”.[/quote]
Metamorphosis, 1990
An Evening Alone, 1982
1960s have brought considerable liberalisation to countries such as Czechoslovakia. Changes have been evident in literature, film and art as such. State borders ceased to be as much guarded and few artists at that time managed to present their work also abroad. The films of the Czechoslovak New Wave won several awards at major film festivals and Czechoslovakia reappeared on the map of the world. Film posters took place in international competitions and many artists have been featured in such prestigious magazines as Graphis or Gebrauchsgrafik. However occupation of Czechoslovakia by the associated states of the Warsaw Pact at the end of August 1968 made early end to all of this. Normalisation has prevented many artists from continuing to work, some have been forced to emigrate, and many names have disappeared from poster scene. How did the situation after August 68 reflected on your work?
Somewhere in Italy, 1968
[quote]“In 1966, we managed to travel to Italy and my husband fell in love with Italian countryside. After our return, he began to paint pictures inspired by this journey and by chance, the head of one of Dílo’s galleries (“Artwork” Gallery – which was the sales section of the Union of Fine Artists) who saw them in the studio persuaded my husband to put them on sale. Since all the works of art had to go through the committees consisting of artists with party and political commitment and approval, the matter was rather disgusting. Still, here and then they had been forced to approve some of his work, so he devoted himself much more to painting.”[/quote]
[quote]“The most important for Stanislav was that his paintings had a great response and many were sold. Directors of Dílo Galleries had to show revenue, so they were trying to commission husband’s paintings by personal agreement with agents, etc. The secretary of the Union of Fine Artists Dr. Lhota was also admirer of husband’s work and if there was any show cancellation and exhibition gallery became vacant, he literally sneaked my husband in within very short notice.”[/quote]
[quote]“Another one of his admirer was the poet Karel Sýs, a convinced communist, to whom my husband illustrated poems. Karel Sýs had a great literary interest in husband’s art and because he was the editor of Rudé Právo11, he enforced publishing. On one hand, we were spied on, because of our religious foreign ecumenical engagement and political dubiousness, on the other hand my husband had influential advocates who tried to make his work available to the public. It was all due to the fact that his paintings were irresistible for the large audience, art collectors and exhibitors had great success with them.”[/quote]
Dream, 1978
[quote]“Such a system was censoring all of the artistic activities, not only for graphic art and that was the biggest dirt (not to be called otherwise). The system allowed to distribute contracts among artists not by the quality of their work, but because of the political engagement. Simply said.”[/quote]
[quote]“From my own experience in 1986, when committee openly said to the architect and investor: Vajce does not get an approval stamp on her proposal, she had guzzled enough already, she will never get a bite again, literally in exactly same words. (I previously won an anonymous competition where members of the government committee and architects mistakenly assumed I was in the party, and because they liked my proposal the most, they overpowered the Union of Fine Artists (fiasco). This is just to illustrate the situation, I’m writing to you openly, as it was.”[/quote]
Night Stage, 1991
Stop!, 2001
Voice of the Forest, 2001
Rotation, 2011
It is clear that the main poster commissioner was ÚPF (Ústřední Půjčovna Filmů / Formal state distribution 1957-1991) with its own censoring committee that was deciding which posters could go into distribution. In article with Zdeněk Ziegler we read that some of the poster designers as Karel Vaca, or Dobroslav Foll were also part of such a committee.12 Could you describe a little how was approval process working and what were the selection criteria? Or were there any taboos that were not permitted to be shown?
[quote]“As I see it, the main criteria was money distribution.”[/quote]
It’s almost half of the century that you have not been designing film posters, nevertheless they still look very modern and impressive. How do you personally perceive them after such a long distance of time?
[quote]“In my opinion, they appear in such a way, because graphic art was always taking part in Stanislav’s versatile art besides of illustration, landscape painting, portrait, drawing, monumental painting, sculpture.”[/quote]
Meditation, 2001
Many thanks to Eva & Stanislav Vajce for sharing their precious time and knowledge with us.
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Examples of record sleeves designed by Stanislav Vajce:
Dvořák, Symphony No. 6 In D Major, Supraphon, 1966.
Benjamin Britten, Ralph Vaughan Williams, Violin Concerto, Supraphon, 1968.
Beethoven, String Quartet Opus No. 132, Supraphon, 1968.
Vítězslav Novák, Supraphon, 1967.
Collection of Czech and Slovak Modern Poetry I., Supraphon, 1967.
Mendelssohn, Symphony No. 3 In A Minor, Supraphon, 1988.
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Please see other fascinating posters designed by Stanislav Vajce.
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Resources:
Literature:
3. Milena Klasová: Stanislav Vajce / Galerie Klatovy, 2015 / published for Stanislav Vajce’s retrospective, also printed debut about artist
Collective authors: Czech film posters of 20th century / The Moravian Gallery in Brno, Exlibris Prague, 2004.
12. Flashback / Czech and Slovak Film Posters 1959-1989, ed. Libor Gronský, Marek Perůtka, Michal Soukup, Olomouc Museum of Art, 2004, p.34 (Welcome to hard times… by Zdeněk Ziegler)
Images of Stanislav Vajce’s artwork are property of the artist and are all copyrighted.
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Note: this showcase is part of our ongoing article Film posters / Made in Czechoslovakia. The story of film posters, please read Take 1 / Take 2, or see artist’s INDEX for more blog posts.
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It is fairly interesting when thinking of Rudolf Altrichter’s designs for film posters, that behind all this visual trickery is hidden self-taught artist. Originally trained as a sales man (worked also for Bata / shoemaker company) he became one of the most influential Slovak graphic artist. In his thirties he became one of the establishing members of newly reopen Slovak Art Society (1946) and year later co-founder of Association of Slovak Graphic Artists (1947).
Rudolf Altrichter’s film posters are full of visual harmony, unusually blended by pure abstraction and the hints of reality. Human element appears to be one of his strongest standing point, no matter if it is design for art exhibition, film or political poster. Visual harmony is also represented by the use of elegant thin lines and curvy almost psychedelic shapes. Absurdity of the war, another of his characteristic motifs, can be also seen on several of his film posters. Film poster designed for French drama Dangerous Love Affairs / Dangerous Liaisons (shown bellow, designed in 1969), belongs to the selection of the most significant acquisitions of the Poster and Graphic Design Collection of Slovak National Gallery.
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Dangerous Love Affairs movie poster by Rudolf Altrichter, 1969.
Talking Caftan movie poster by Rudolf Altrichter, 1969.
Traces on the Sitno movie poster by Rudolf Altrichter, 1968.
What a Lovely War movie poster by Rudolf Altrichter, 1969.
The Upthrown Stone movie poster by Rudolf Altrichter, 1970.
Girl from the Mountains movie poster by Altrichter, 1972.
The Cremator movie poster by Antonín Dimitrov, 1968.
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b. 27th February 1928, Mšecké Žehrovice/Rakovník, Czech Republic
d. 27th December 2014, Bobcaygeon, Canada
lived in Canadian exile from 1968
Education:
1945 – 1953, Academy of Arts, Architecture and Design in Prague (Antonín Strnadel)
Exhibitions:
until 1968 mostly Prague exhibitions
Toronto, Royal Canadian Academy of Arts (member), Canada, 1991
London / United Kingdom
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In few of our recent articles we have discussed absurdity and inappropriate behaviour of Communist leaders. Terrifying act of those in power and their constant fight towards fictional enemy was very systematical. In country as small as Czechoslovakia it was not impossible to succeed.
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Four in a Circle movie poster by Antonín Dimitrov, 1967.
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Similarly to Jan Brychta, Antonín Dimitrov’s profile was simply deleted. Second successful attempt of leaving the country in 1968 took Antonín Dimitrov with his wife Olga to Canada. His first try when he and his soul mate swam across the river Danube to neighbouring Austria, just to get caught and handed in to Russian soldiers, cost him several years in prison and forced labor.
Before their disappearance, Antonín Dimitrov and his wife worked professionally as a set and costume designers in various theatres across the country. Antonín’s rebellious nature has been proved several times. Exclusion from the Art Academy for his incorrect political views (note: even the students had to be the members of Communist party. Same applied to parents, if there was a non member in the family, studying at higher education was impossible. Not talking of grand parents.) and his unsuccessful immigration right after that are only few examples of his misbehaviour.
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Sign of the Cancer movie poster by Antonín Dimitrov, 1967.
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His collaboration with Czechoslovak New Wave directors, specially with Juraj Herz must have also spiced the soup up. Juraj Herz’s Cremator was the movie Communist could not swallow, similarly to other two titles in the showcase. In cases when the Communists decided to ban the movie everything would go off the shelf. Film director, author of the script / writer and the same destiny would meet the film poster.
Movie posters of Antonín Dimitrov are reflecting the times utterly. His posters are incredibly attractive, no matter if he touches the scissors or the paint brush. Excellent typographer and master of the blend, his virtues are sensibly hidden mostly in the collage. His posters are missing on one thing, there are only very few of them. He possibly did not design more than ten movie posters.
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Masters of Congo Jungle movie poster by Antonín Dimitrov, 1967.
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Even though Antonín Dimitrov luckily led succesful life in the exile. As a set designer he and his wife worked on numerous theatre and opera productions. He was also head of the design programme at the prestigious Indiana University School of Music in Bloomington, Indiana1 . But for Czechoslovak film poster his departure was a great loss. Many fascinating artists remained and learn how to overcome the situation, while building one of the most impressive poster archive in design history. It would be truly interesting to see what else could Antonín Dimitrov pull out of that hat.
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The Limping Devil movie poster by Antonín Dimitrov, 1968.
1.Obituary of Antonin Dimitrov, Hendren Funeral Homes, Norwood and Bobcaygeon, Ontario / it is sad when only biography on artist can be found in his obituary. Beautifully written, one should take a look.
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Book Illustration / Caricature / Film Animation / Painting
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Jan Brychta’s poster design for movie adaptation of Karel Čapek’s novel, 1964.
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11th of May 1928, Mladá Boleslav, Czech Republic
14th of November 2013, London (?), United Kingdom
lived in London exile since 1968
Education:
State Graphic School, Prague (Zdeněk Balaš, Josef Vodrážka)
1945 – 19.., Academy of Arts, Architecture and Design in Prague (Josef Kaplický, Antonín Pelc)
Exhibitions:
from late 1950s until 1968 mostly Prague exhibitions
Surrealism Unlimited 1968 – 1978, Camden Arts Centre, London 1978
Awards for Film Animation:
The main prize in the category of animated films, Oberhausen 1966
The prize of the union of cinema owners, Oberhausen 1966
Grand Prix “Bronze Caesar”, Tours 1966
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In 1968 Jan Brychta vanished off the face of the earth and that is the fact. Russian occupation of Czechoslovakia in 1968 brought in many immediate changes within the state. Political trials were about to return back to fashion and not everyone was waiting for the resume. Or at least Jan Brychta did not.
It would be hard to say what made such a successful artist leave his homeland, as Jan Brychta’s art was everywhere and available to everyone in all possible forms. From beautifully illustrated books, film animations to caricatures in daily newspaper and television graphics / adverts. Simply put 1960s daily life was somehow incomplete without Jan Brychta.
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Five Minutes to Seven movie poster by Jan Brychta, 1965.
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It is fascinating to watch how with short step in time and history someone so publicly pleasing can become persona non grata. Researching many years later it really looks that party members did a great job. There was no Jan Brychta after 1968 in Czechoslovakia and same for his wife Lída Brychtová (artist and book illustrator) as they managed to escape the country together with their children Edita and Aleš.
Through out his Czechoslovak career as a daily caricaturist, film animator and pioneer of television graphics Jan Brychta was never far away from the movie poster. His rapid illustration and excellent story telling could be easily applied to the discipline. As a surreal artist and two dimensional painter use of a collage and illustration was a natural choice. His portfolio ends with his disappearance in late 1960s. Jan Brychta’s posters are absolute pleasure to look at and it is real pity it does not contain more than ten movie posters. The master of many techniques with only one common goal which was to keep everyone amused.
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Our Household, third volume of the annual guide for modern family illustrated by Jan Brychta, 1963.
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British audience could recognise Jan Brychta’s illustration thanks to BBC children’s television series Jackanory.
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Television graphics by Jan Brychta, Adolf Born and other pioneers of 1960s TV visuals.
Krátky Film, Praha / Short Film, Prague. Archive of Jan Brychta’s 1960s animated films.
Images used:
Collective authors: Záznamník – Naše Domácnost 3 / Family Guide Jotter – Our Household Vol.3. Obchodní Tiskárny, Praha, 1963. Cover and inner pages of the book.
Film a Doba 1 / Film and Times 1 / Bratislava City Gallery, 1965. Magazine spread out.
Harold Lloyd in His Best Comedies, 1963 / The King of Kings, 1963. Exhibition catalogue excerpt, Munich, 1965.
Welcome to the humorous world of Stanislav Duda, possibly one of the longest lasting poster designer Czechoslovakia had on offer. His poster activities are dating to late 40s, where he gained several awards for his commercial poster designs. 7 Stanislav Duda begins to work professionally right after his graduation as graphic designer in Centrotex company (import / export of mostly textile products) where he stayed until 1953. From then onwards he works on his own as freelancer. He takes part in several group exhibitions representing graphic art from Czechoslovakia and also participates on International Exposition in Brussels (EXPO 58), where Czechoslovakia won prize for the best pavilion.
By the beginning of 1960s when Stanislav Duda started designing movie posters he was already well established graphic artist. Not sure if it was just by mere coincidence or because of his personal character, but it seems that majority of his 1960s movie posters were designed mostly for grotesque comedy (most of the posters shown in the article). Parallel to his illustrated caricatures that could be seen in several popular periodicals or art magazines, one can suggest that circumstances were working in his favour.
When Comedy Was King / Stanislav Duda, 1965. Brno Biennials catalogue excerpt, 1970.
It is interesting to observe artist’s development through out his career. Stanislav Duda remained faithful to drawing all the way to mid 1980s. Apart of occasional use of very simple collage (Bewitched Love, 1969 (bellow) / Dead Men Don’t Wear Plaid, 1985) or his phenomenal movie poster for Francois Truffaut’s Day for Night (great example of his graphical abilities) he was focused mainly on illustration and experimented a lot with fonts and colour. Eventually he also takes control over typography and masters everything in very unique almost childish quality of naive artist as can be seen in his later poster designs.
Movie poster Bewitched Love / Stanislav Duda, 1969.
Stanislav Duda was author of several animated films and illustrated a good number of books for both children and adults. His work brought him a world recognition in pretty much everything he has touched. He has designed around thirty movie posters all with genuine signature and obtained some important movie poster awards.
Many other magnificent posters by Stanislav Duda can be observed in our movie poster archive.
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The Haunted Castle movie poster designed by Stanislav Duda, 1961.
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Resources:
Literature:
II. Bienále Užité Grafiky Brno ’66, Medzinárodní Výstava Knižní Grafiky a Ilustrace, Moravská Galerie v Brně. / 2nd Biennale of Graphic Design Brno ’66, The International Exhibition of Book Graphics and Illustrations, Moravian Gallery Brno, 1966
3.5. IV. Bienále Užité Grafiky Brno 1970, Medzinárodní Přehlídka Plakátu a Propagační Grafiky, Moravská Galerie v Brně. / 4th Biennale of Graphic Design Brno 1970, The International Exhibition of Poster and Promotional Graphics, Moravian Gallery Brno, 1970 (p.41)
V. Bienále Užité Grafiky Brno 1972, Medzinárodní Výstava Ilustrace a Knižní Grafiky, Moravská Galerie v Brně. / 5th Biennale of Graphic Design Brno 1972, The International Exhibition of Illustrations and Book Graphics, Moravian Gallery Brno, 1972
VII. Bienále Užité Grafiky Brno 1976, Mezinárodní výstava ilustrace a knižní grafiky, Moravská Galerie v Brně. / 7th Biennale of Graphic Design Brno 1976, The International Exhibition of Illustrations and Book Graphics, Moravian Gallery Brno, 1976
IX. Bienále Užité Grafiky Brno 1980, Medzinárodní Výstava Ilustrace a Knižní Grafiky, Moravská Galerie v Brně. / 9th Biennale of Graphic Design 1980, The International Exhibition of Illustrations and Book Graphics, Moravian Gallery Brno, 1980
6.Současná světová grafika, Deset brněnských bienále / The World Graphic Design at the Ten Brno Biennials, Jiří Hlušička. Odeon, Praha, 1985 (p.272)
7. 1948, 1949, 1955 – 1st, 2nd & 3rd Prize for commercial poster design. IV. Bienále Užité Grafiky Brno 1970, Medzinárodní Přehlídka Plakátu a Propagační Grafiky, Moravská Galerie v Brně. / 4th Biennale of Graphic Design Brno 1970, The International Exhibition of Poster and Promotional Graphics, Moravian Gallery Brno, 1970 (p.41)
4. Exhibition Catalogue: Plakate aus der Tschechoslowakei / Posters from the Czechoslovakia. Münchner Stadstmuseum, Munich, West Germany, 16.2 − 20.3. 1965. Texts: Alena Adlerová & Johanna von Herzogenberg.
Online:
1.abArt / Stanislav Duda / Most of the biographical details are coming from AbArt’s archive unless otherwise referred.
2.AbArt / Group of Artists and Graphic Designers established in Prague between 1957 − 1968. Main activities were exhibitions of group members in Czechoslovakia and abroad.
Article about exhibition Plakate aus der Tschechoslowakei / Posters from the Czechoslovakia, Munich, West Germany (1965) was printed in Gebrauchsgraphik Magazine, January/1965 and is available thanks to International Advertising & Design DataBase (pages 46-60).
Harold Lloyd in His Best Comedies, 1963 / The King of Kings, 1963. Exhibition Catalogue: Plakate aus der Tschechoslowakei / Posters from the Czechoslovakia. Münchner Stadstmuseum, Munich, West Germany, 16.2 − 20.3. 1965. Texts: Alena Adlerová & Johanna von Herzogenberg
When Comedy Was King / Stanislav Duda, 1965.Exhibition Catalogue: IV. Bienále Užité Grafiky Brno 1970, Medzinárodní Přehlídka Plakátu a Propagační Grafiky, Moravská Galerie v Brně. / 4th Biennale of Graphic Design Brno 1970, The International Exhibition of Poster and Promotional Graphics, Moravian Gallery Brno, 1970 (p. 145)
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