studio in Prague of T. François imon reveals the development of
an artist of international repute from a colorist and
impressionist to a decorative painter within twenty years. One of
the best known pictures "Bruges in Snow" hangs in the
Luxembourg, in Paris.
To the average man in the street who pauses to consider art, imon
is known to him as an etcher. In the smaller circle of artists and
artcritics, imon is painter first and etcher second. And it is as
painter imon would prefer history should record on him. He is
today one of the leading Czech painters and is probably, without
exaggeration, the master of the decorative school in his country.
"Concarneau Fishing Boats", demonstrates his instinct for
balance and composition, but does not do justice to his feeling
for colour, a feeling manifested in all Czech and Slovak art,
whether it be painting, ceramics, or even peasant embroideries.
And however lovely a picture this sturdy scene of the fishing
boats in Concarneau may be, it still scarcely signifies the new
movement in imon's painting.
imon told the writer that a painting should not make
a hole in a
wall-his own words-
but should add to and build up the decorative
effect of the room, be in harmony with the architecture of the
room, with furnishings. Design, rhythm - these have now, together
with a new interpretation of colour values - succeeded in absorbing
his interest. His groups of figures in flowing draperies by the
seashore or by trees are definitely constructed after the
somewhat severe manner of murals. To the writer, the simplier charm
of the "Concarneau Fishing Boats" is more convincing and
would be more agreable to have in one's room than a large canvas
of rhythmically arranged and rather conventional figures, however
beautiful they might be. imon must, however carry out of his own
He has something in his new art which is rarely found in such a
among artists today.
AMERICAN NEWSPAPER. Around 1925.