František Tomáš Turek
painter, sculptor, Czech republic
Art of František Tomáš Turek
Painter František Turek insist that the work of art symolizes the abstracted patterns of life and thus refers to something other than itself. Painting of this author is empathic art but it hardly fits the art of abstract transcendence – the art that is to say, which seeks refuge from the flux and impermanence if vital processes in the contemplation. The tension between the actual and the possible is transfigured into an insoluble conflict. Virtual time in Turek’s paintings is organic. American theorist Richard Norton says that the virtual event is a whole and acceptable reality between what was supposed to be actually the case and its actual nonexistence caused by failure, neglect, or intent. In Turek’s paintings we see identity of intuition and expression of emotion. Turek also. The fresh insight of Turek’s best painting is that man takes pleasure in familiarity. We see in Turek’s paintings baroque inspirations. Baroqua age have a common interest in significant movement instead of beautiful stillness. Turek also.
Contrasted emotions are used in Turek’s works by the dramatic situation and in turn the structural emotions is combined with „floating feelings“. This, then, is the significant emotion which Eliot is seeking. Turek believed that true originality came not from more novelty but from better apprehension of truth.
Ruskin speaks on „typical beauty“ and on „vital beauty“. In Turek’s paintings vital beauty draws heavily on romantic theories of poetry in european romantism.
Turek’s painting suggests that his art requires the involvement of a specifically plastic sensibility – more complex than the specifically visual sensibility. Central of this sensibility is a sensation of volume. Turek’s sculptural thinking differs qualitatively from the kind of thinking involved in other kinds of artistic production. It exist Turek’s rejection of a distinction between the sculptural and the pictorial values. It may be objected that this account of the sculptural fails for reasons identified by František Turek in his „tactile pictures“, in structural combinations of matter, in sense of artistic relevance. An Artwork’s properties are underwritten by the art historical context in postmodern culture – as pluralism of values.
Prof. PhDr. Miroslav Klivar, CSc,
World Information Distributed University Brusel,
Member of the European Organization
art Critics AICA, Paris