Czech Center Museum Houston
Frantisek Kupka: Orphism

Bohemian artist Frantisek Kupka is the forefront mind behind the art form of Orphism. Orphism focuses on color and abstraction, similar to Cubism but also an “evolution” where abstract shapes are given precedence in contrast to solid, known geometric shapes. There are many examples of Orphism to see, spanning many years.

Frantisek Kupka: Orphism
Czech Center Museum Houston
Czech Beer : A Brief History

From the Brevnov Monastery to the modern-day Pilsner, the Czech people have been enjoying beer for over a thousand years. Known as the beer of tradition, Czech beer is ingrained into history itself. When beermaking was banned. the Brenov Monastery, as the first-ever Bohemian brewery, was exempt. Initially, after the ban on brewing ended, only noble families or homeowners were allowed to brew beer. It was in 1842 that the famous Pilsner was created.

Czech Beer : A Brief History
Czech Center Museum Houston
Eliska Junkova: Racing into History

Eliška Junková is the first woman to win the Grand Prix, in 1927. Even before, Junková was “Queen of the Steering Wheel,” a well-earned title that she worked towards since 1922. Her dedication to racing began with her dedication to her husband, Vincenc “Čenêk” Junek, whom she met at her job at the Prague Credit Bank.

Eliska Junkova: Racing into History
Czech Center Museum Houston
Great Moravia: Mojmir I and Rostislav (830-870)

After the death of Samo, there was uncertainty about the Czech and Moravian lands, but after the rise of Charlamange of the Frankish Kingdom, Moravians were able to recover. The princes of Moravia consolidated their power, and one in particular Mojmir I, rose beyond tribal institutions to establish Great Moravia. After Mojmir I's deposition, his nephew Rostislav became Louis the German's loyal vassal. In secret, however, Rostislav had ambitions beyond this.

Great Moravia: Mojmir I and Rostislav (830-870)
Czech Center Museum Houston
Milada Horakova

Milada Horakova was an advocate for democracy, stuck between both the Nazis and Communists for her adult life. During the Nazi occupation of Czechoslovakia, she resisted, helping emigrants escape and harboring fugitives of the occupiers. Although she faced torture and death from the Nazis, she not only survived but also continued her same fight, this time with the Soviets. Sadly, she was sentenced to death and executed, even when eminent individuals of the time demanded her release.

Milada Horakova

Communism

Gender Roles under Communism

Under Communist leadership, Czechoslovakia held that women’s emancipation was equal access to the workforce and increased educational and social reforms, but they failed to address the issues of housework, gender roles, and women’s political presence. For example, while women were 11 times as educated in 1975 as they were in 1945, they were directed towards traditionally feminine fields of study. At the same time, however, financial and moral incentives were introduced for women to work for the bureaucracy. There’s no doubt that gender roles were becoming complex while staying traditional in Czechoslovakia.

Milena Jesenska (10 August 1896 - 17 May 1944)

Milena Jesenska (10 August 1896 - 17 May 1944)

Milena Jesenska life was rather adventurous, including her commitment to a mental hospital for nine months, due to her father and his dislike for her then-boyfriend, Ernst Pollak. After her marriage to and divorce from Ernst, she remarried to Jaromír Krejcar and had a daughter with him. Between both marriages, she was dedicated to journalism, which she engaged in as she document the activities of Nazi Germany over Czechoslovakia. Unfortunately, in her efforts to help those negatively affected, she was arrested and deported to a concentration camp.

Cinema Under Communism: The Czech New Wave

Cinema Under Communism: The Czech New Wave

The Czech New Wave was an important film movement led by daring, rebellious film directors in the sixties. Since the nationalization of the film industry in 1945, cinema had gone stale. In the fifties, each film adhered so tightly to the standards set by the communist government that moviegoers found themselves bored in the theatres. Plot threads were entirely predictable and dogmatic, an aspect that would be criticized extensively during the movement (Kehr 2008).