Modern art expression is sometimes compared with contemporary music.
Should we use the same comparison in case of Mžyk, his works may
be compared to a good jazz suite in which the apparent colour areas
resemble the rag rhythm and the elegance of line drawing is to be
understood as the fundamental tune.
A painter who reminds us of the divine harmony of Giorgione and the
Arcadian brightness of Poussin, who believes that the pure colour
of Matisse, the feeling of unity and joie de vivre are not things
of the past, and who likes American Pop artists because of their direct
and factual approach, has defined his own space.
He has set himself apart from his contemporaries and is aware of that
fact. To be different is a risk.
Mžyk's work lacks the "aesthetics of opposition and revolt"
as well as the naive enthusiasm of an intellect which barely entered
the subconscious and now frightens and bothers us with the visions
he met there. Mžyk has never never been attracted by minimal expression,
nor has he ever felt the need to manifest different positions of
intellectual detachment from the delight he feels when he is painting
a picture. Mžyk's large, complex compositions with alluded memories
and a strange, peculiar, intimate personál iconography are so strongly
characterised by harmony, brightness and beauty (at first glance
and their ultimate meaning), that these old categories of spirituál
aesthetics háve nevěr been omitted by any interpreter of his work.
The works of Josef Mžyk do not, therefore, fit in with what were
well until recently favourite definitions of the "weighty"
and reflective Central European character and ironic-grotesque style
of Czech art. These definitions sought to reveal an adequate position
of contemporary art but were more than a mere apology for provincial