René Roubíček Explained

René Roubíček
Birth Date:23 January 1922
Birth Place:Prague, Czechoslovakia
Death Place:Prague, Czech Republic
Education:School of Arts and Crafts in Prague
Known For:Glass artist and designer, painter, pedagogue

René Roubíček (23 January 1922 – 29 April 2018) was a Czech glass artist, designer, painter, musician and teacher. He was one of the leading figures of 20th century world art glass.[1] [2] As a teacher at the Vocational Glass School in Kamenický Šenov, an artist at the Vocational Glass School in Železný Brod and the head artist of the Borské sklo company, he was at the birth of Czech studio glass.

In the late 1960s he was an external professor at the Academy of Fine Arts in Prague. From 1969 he was a freelance artist and worked with Crystalex, Moser, Lasvit, Preciosa and a number of glassworks. Until the age of 96, he created free sculptures in blown and hand-formed solid, fused and plate glass.

Life

1922–1945

René Roubíček was born on 23 January 1922 in the family of a professional violinist, music teacher and amateur painter Antonín Roubíček. He had an older brother, Antonín, who was also musically gifted and later worked as a laboratory technician in the medical profession and photographer. His mother came from a carpenter's family and took care of the household throughout her life. The household was shared with the Roubíček family by his uncle Jan Tříska, who studied sculpture at the Academy of Fine Arts under Otakar Španiel.[3]

René Roubíček had a perfect visual memory and an absolute ear for music. Together with his brother, he learned to play the piano and later mastered the clarinet, saxophone, guitar, harmonica, bagpipes and electric piano.[4]

He attended the reform primary school where Miloslav Disman[5] taught, and later studied at the Vyšehrad Real Gymnasium, where Jindřich Severa was in charge of art education. He drew since the second grade of primary school. At the age of ten, he exhibited and sold several of his drawings and was even offered a job as a graphic designer in a Prague company, where they had no idea that he was a young boy.[6] At the age of 14, he exhibited his copy of Václav Brožík's painting Celebration at Rubens with 52 figures,[3] painted after a reproduction, at a show of amateur painters.[7] Several newspaper articles have been published about his talent. He was also noticed by the then rector of the Academy of Fine Arts in Prague Max Švabinský who invited his parents and offered René to study at the Academy after finishing school.[8]

Universities were closed during the war. Therefore, on the recommendation of Jindřich Severa,[9] he began his studies at the Art and Crafts School (UMPRUM), which was then serving as the main art school. He was admitted to the studio of monumental painting and glass led by prof. Jaroslav Václav Holeček, who came to the Art and Crafts School after the occupation of the Sudetenland from the School of Glass in Nový Bor. In Holeček's studio, Věra Lišková, Stanislav Libenský, Josef Hospodka, Felix Průša, or Miluše Kytková were his classmates. During his studies, Roubíček dealt mainly with engraved, cut, etched and sandblasted glass. He finished his studies in 1944 and in 1945 became a member of the Revolutionary Guard and of the Union of Czech Youth.[10]

1945–1958

After the war, together with Stanislav Libenský and Josef Michal Hospodka, he went to northern Bohemia to substitute the displaced German glassmakers in the glass schools in Nový Bor and Kamenický Šenov and to maintain teaching. Roubíček's pupils in Kamenický Šenov came from the same generation (Vladimír Kopecký, Vladimír Jelínek, etc.) and felt as a family.[11] They were inspired by the visual style represented by the Družstevní práce publishing house at the time, especially functionalism, by arch. Otto Rothmayer, Josef Sudek or Ladislav Sutnar, and very quickly adopted a modern view of glass. René Roubíček headed the department of engraved and cut glass, but he was the first to deal with the artistic qualities of hot hand-formed glass.[12] He was an inspiring teacher and a capable organizer, and therefore, less than a year after the resumption of teaching, students were able to present their results at an exhibition on the 90th anniversary of the school.[13] Subsequently, they transferred the exhibition to the Družstevní práce shop in Prague and founded the Alumni Production Cooperative, but after the communist takeover in 1948 they were forced to enlist in the army and later it was no longer possible to restore the cooperative.[14] Small-scale production was forcibly suppressed at that time in favour of large national enterprises and heavy industry.[15]

In 1949–1950, René Roubíček completed his studies at the Academy of Arts and Crafts in Prague in the glass studio of Prof. Josef Kaplický with a final thesis and a state examination. Until 1952 he continued as a teacher and artist of the Design centre of cut glass at the Glass School in Kamenický Šenov. The school was closed down in 1952 by decision of the communist authorities.[16] René Roubíček has moved to "Umělecké sklo" (Art Glass) national enterprise in Nový Bor, where he was the chief artist until 1965 and designed applied and decorative glassware for mass production. The Nový Bor glassworks had the longest glassmaking tradition and the widest range of glassmaking techniques and technologies, and a background of experienced professionals. René Roubíček, together with master glassmaker Josef Rozinek, created his first original works of blown and hand-shaped glass there and raised glass art to the level of other artistic disciplines.[17] He is the author of the statement "Glass is the art of today".

Karel Jindra, the former owner of the glassworks in Prácheň, who later became the director, or the theoretician Karel Hetteš, who was dismissed from the Museum of Decorative Arts in Prague, also worked in the "Umělecké sklo (Art Glass)". The latter was officially employed as a worker in the courtyard squad, but in reality he organized exhibitions and important commissions. The glass studios designed for mass production, but apart from that, unique works were created here, such as state gifts, trophies for athletes, stained glass windows or custom-made prosthetic eyes. In 1953 another merger took place and Umělecké sklo was incorporated into the company Borské sklo together with the glassworks in Harrachov and Nový Bor.[18] During the preparation of the World Exhibition Expo 58, glass artists were for the first time given the opportunity of completely free creation.[19]

1958–1970

René Roubíček also worked at the Design centre of the glass school in Železný Brod[20] and collaborated externally with the Central Art Centre for the Glass and Fine Ceramics Industry and later with the Institute of Housing and Clothing Culture (ÚBOK) in Prague.[21] In 1958 he was a founding member of the creative group Bilance, whose theoretician was Karel Hetteš.[22] Since 1961 he was a member of Umělecká beseda.[23]

In 1966, he left his position at Borské sklo when the company was unable to ensure the production of modern designs created in the studios.[13] In 1966–1968, at the invitation of the rector Jiří Kotalík, who was presenting modern Czech art abroad as a curator, he became an external lecturer at the Academy of Fine Arts in Prague, but did not have time to establish a glass studio.[24] After the Soviet occupation in 1968 and the return of the rigid communist regime, he resigned from the Communist Party of Czechoslovakia and decided to become a freelance artist in 1969. In the 1970s he was placed on the unofficial list of politically undesirable artists[25] and lost the possibility to exhibit independently in Czechoslovakia.[16]

1970–2018

In the 1970s he collaborated with the Beránek glassworks (ÚLUV since 1952) in Škrdlovice,[26] with glassmaker Josef Rozinek and the Crystalex glassworks in Nový Bor (formerly Borské sklo), then with Petr Novotný (Crystalex, Ajeto in Lindava), Moser in Karlovy Vary[27] [28] and with the Swiss glassworks Glasi Hergiswil.[20] Exports abroad were mediated during normalization by the enterprise Artcentrum, established to obtain foreign currency for the state. In later years, he created glass in collaboration with Jiří Pačinek (PAČINEK GLASS in Kunratice u Cvikova)[29] and metal sculptures in collaboration with Ivo Šimánek.[13]

Since 1982 René Roubíček has been one of the main organizers of the International Glass Symposia (IGS) in Nový Bor. In 2015, René Roubíček and Miluše Roubíčková were the first to be elected into the IGS Glass Hall of Fame.[30] In addition to IGS Nový Bor, where he has participated eleven times since 1982, René Roubíček has participated in the International Symposium of Engraved Glass in Kamenický Šenov and glass symposia in Frauenau (1982), Lucerne (1983, 1984), Immenhausen (1985) and Glavunion in Teplice (1995). In 1994 he lectured at the Pilchuck Glass Summer School in Seattle (USA), in 1998 he made a lecture tour of Japan, and in 2006 he participated in the Visiting Artist Program at the Museum of Glass, Tacoma in Washington.[31] [23] He has had more than 50 solo exhibitions on virtually every continent.[32]

While studying at the School of Arts and Crafts, René Roubíček met Miluše Kytková, who originally wanted to study at the Faculty of Arts (closed during the war) and married her in 1948. Miluše Roubíčková was also an important glass artist. In 1966, René Roubíček became a guardian of the designer Bořek Šípek,[33] who was orphaned at the age of 16. Šípek lived with his sister until 1968[34] and emigrated to Germany after the Warsaw Pact invasion of Czechoslovakia. René Roubíček lived and worked alternately in Kamenický Šenov and Prague. In Kamenický Šenov, the Roubíček couple bought a house with a garden where they installed their works. In 1995, René Roubíček had a glass gallery built here according to his own design. A company that included teachers and theoreticians of glass art as well as glass artists, painters and sculptors used to meet at their house.[35]

Roubíček died on 29 April 2018 in Prague, at the age of 96.[34]

Awards

Listed in:[43]

Work

1945–1969

Soon after World War II, René Roubíček began to work with relief cutting of glass, which he conceived in a sculptural manner, removing the mass from a block of glass. He retained the carving's rawness and sculptural bulk.[44] After the cut, strikingly sculptural vessels of asymmetrical shapes from the late 1940s,[45] in which he artistically refined the modern spatial concept of the cutting on a simple shape[46] (Antonín Dvořák (1946) - UPM,[47] vase with a view of the Charles Bridge (1946) - Kamenický Šenov Glass Museum, Vase Prague (1946), a gift from the school to President Edvard Beneš[48]) and experiments with optical glass, he later devoted himself to free-formed glass made at the glass furnace. His collaboration with the Nový Bor glassworks and with the glass masters Josef Rozinek (later Petr Novotný and Jiří Pačinek, Ajeto glassworks)[49] led René Roubíček to switch from cold glass techniques to blown glass and glass sculptures made by shaping hot coloured glass.[20] In his search for his own material form, Roubíček's work at that time was close to informel[21] and his abstract glass sculptures were ahead of their time in their appreciation of fused glass.[50] [51] Miroslav Klivar describes Roubíček's sculptures as mythical surrealism and sees in them primordial images of psychic-lyrical-poetic visions of natural objects or transparent, mysterious forms of exuberance.[52] In his work, he consistently drew on the properties of glass and modified and refined his original idea while working in the glassworks to achieve the intended effect.[53]

René Roubíček first gained fame for his installation of metal structure, holding blocks of coloured hand-formed cast, engraved and painted glass (Glass - Matter - Shape - Expression) for Expo 58 in Brussels. He dramatically changed the perception of contemporary glass by this object, showed its artistic possibilities and was awarded the Grand Prix. The metal core was made by Jan Žaloudek, a blacksmith from Nový Bor, who later collaborated also in the production of large chandeliers.[54] In 1959 Roubíček made an expanded composition in Prague and called it Glass – the Art of Today. He subsequently exhibited similar bold works in Moscow, Mumbai, Dili and São Paulo. His sculptures from the late 1950s and early 1960s showed the possibilities of using glass in architecture and aroused the interest of architects.[55] Together with Stanislav Libenský and Jan Kotík, he was most credited for overcoming the notion of the servility of glass and of the imaginary border between applied and free art.[45] [32] Beginning with the Brussels exhibition, Czech glass embarked on the path of free artistic creation and broke with the world glass production oriented towards industrial design.[56]

In addition to chamber sculptures (Objects, 1964)[57] for the Czech glass exhibition at the Internationale Handwerksmesse in Munich (1964),[58] he was able to create monumental sculptures modelled from flowing glass, hot-wound on a steel rod, cut and shaped with hand tools. In working with glass, he thus approached tachism and gestural painting. Water was an important part of his installation, echoing Roubíček's definition of glass from his students' first exhibition in 1945 as "'halted water'."[59] [60] He thus created, for example, glass columns with a fountain for the São Paulo Art Biennial (1966),[12] later exhibited in Venice, Liège and at Expo 67 in Montreal (together with Jan Kotík). As early as 1959, the later founders of the American Studio Glass Movement became familiar with Roubíček's works, and the Montreal exhibition also influenced Dale Chihuly.[16] Roubíček assembled the spatial composition Cloud, Water and Fountain of Life for Expo 70 in Osaka from bent glass rods on a metal core.[61]

As an artist of the "Borské sklo" company, René Roubíček also designed some stained glass windows in the 1960s (Wall for the ceremonial hall in Ostrava, 1966, produced by the "Vitráže" factory, Nový Bor).[62]

From the end of the 1960s he collaborated with architects and designed large glass chandeliers, in which the overhead light is reflected and mirrored in drops, grapes and lines of glass, for Czech embassies in Sofia (1969), London (arch. J. Šrámek),[63] Washington, D.C. and Brasília. For other buildings abroad, he designed chandeliers with geometric outlines (Riegelsberg Town Hall (arch. B. Focht), Turnhout Water Castle (arch. E van Loven)[64] or adapted lighting to the shape of the given space (staircase chandelier passing through six floors, Maison de la Saar, Paris,[54] software IDS Centre, Saarbrücken,[65] Rosengarten Congress Centre in Coburg, etc.[55] He has designed chandeliers made of bent rod glass for important Czech new buildings of the 1960s (a six-metre chandelier for the Thermal Hotel, Karlovy Vary (arch. Věra Machoninová), the interior of a congress hall with 26 chandeliers for the InterContinental Hotel, Prague (arch. K. Filsak) and for public buildings (the Museum of Decorative Arts in Prague) in the Czech Republic.[64]

1970–1989

At the Expo 70 in Osaka, he presented one of his top works from this period - the Cloud fountain, as a source of life-giving water, evoking an airy vortex, expanding in all directions by assemblies of bent glass rods on a metal structure with a total height of 7 m and width of 8 m, through which water flowed.[66] His composition Cloud was judged by the communist regime (also in the context of other works by Stanislav Libenský, Jaroslava Brychtová, Vladimír Janoušek or Čestmír Kafka, who somehow reacted to the Warsaw Pact invasion of Czechoslovakia with the common theme "The Fate of Small Nations")[67] as ideologically subversive (the sculpture was spontaneously renamed The Cloud of Bolshevism Descending Over Europe)[68] and his domestic commissions were cancelled for several years. The composition entitled Homage to Nicolaus Copernicus[69] (for 500th Anniversary of his birth, spatial object made of hand-shaped crystal rods on a metal structure, 500 x 400 cm, UPM 1973) he originally created for Poland, but after 1970, as a banned author, he was no longer allowed to export the object and it ended up in the depository of the Museum of Decorative Arts in Prague in Brandýs nad Labem.[70] [71] The artist reconstructed the object after 1990 and it is now part of the collection of modern art of the National Gallery in Prague.[72]

René Roubíček did not design only chandeliers, but the opportunity to create works other than lighting fixtures out of glass was given to him especially by foreign architects. He created a wall of flat coloured glass for the theatre in Most (1977), a glass facade and ceiling lighting for the congress building in Coburg (1986), a luminous glass sculpture for Altersheim (1987), a glass stained glass window for the Gnadenkirche church in Würzburg (1988), a glass fountain for the casino in Nenning (1990), and glass sculptures for the sports hall in Saarbrücken (1992).[73]

Roubíček's free works were created in close collaboration with renowned glass masters directly at the glass furnace. Josef Rozinek in particular was an ideal collaborator, whose craftsmanship directly influenced the realisation of Roubíček's artistic designs. From the 1970s and 1980s comes a large set of stylized blown Heads or Bysts for the European Glass Exhibition in Coburg (1977), considered one of the highlights of Roubíček's work,[74] Fingers for the national glass show in Prague (1984) and parts of female bodies with a slight erotic subtext (Women's parts). All of these works are based on humorous perspective and improvisation during production in the glassworks. His figurative motifs are glass etudes, the purpose of which is to reveal the associative nature of glass, its ability to combine, suggest and evoke imagery, meanings and ideas. Glass figures were often created from a semi-finished pieces blown to wooden form (Crowd) and then subsequently reworked as sculptures. Here, the anonymity of the human form and the sparing use of colour enhance the overall effect based on causal associations and crowd psychology. His composition Conversation won the first prize at the 1980 exhibition in Lucerne.[52]

1989–2018

In 1990, Roubíček presented a series of columns made of milky white tubes enlivened with spots, dots and strands of coloured glass fused into the surface of the column (Don't Worry, Be Happy, We're Returning to Europe) at the exhibition New Glass in Europe, 50 Artists - 50 Concepts in Düsseldorf as the first work created in the free era. Roubíček was playing clarinet and piano actively throughout his life. The set of glass musical instruments - Clarinets, which was created from 1985, evokes a parallel between blowing glass and producing tones in a wind instrument.[75] Roubíček's Clarinettes and other musical instruments are close to works of "new materiality" and pop art.[52] His series of drawings and collages "Instruments for Mozart" forms a parallel to glass sculptures.

He made a series Figures for the General Czechoslovak Exhibition in Prague in 1991, and in 1994 he created a glass sculpture made of glued coloured glass, Gehry's Dance.[76] At the turn of the century he returned to engraving and cutting, and to working with flat glass and fused blocks (the series of perforated glass objects Tavenice, after 2000). Between 1995 and 2003 he created a series of about 30 reliefs made of cut glass prisms or fused elements glued to a glass panel (The Picture Gallery), which dissolve light and, when viewed from the back, appear as a painting on glass.[77]

His free cycle Cylinders-Non-Cylinders includes a series of incised and cut cylindrical objects, varied in colour and unexpected shape.[78] [79] His chamber works consist of colorful and irregular bowls made of molten glass, which were created spontaneously and with the participation of the audience directly in the glassworks, hand-shaped stained glass objects (2011) related to his set of Clarinets, the cycles Forge of Angels (2009),[80] or glass objects fused into a mould (Tie, 2008–2010). He is the author of the original Pavel Koutecký glass award for documentary film (since 2007).[81] For his ninetieth birthday, he donated himself a set of glass cups A je dopito (Finished up) (2011).

In 2004, he returned to monumental work and created a set of ten three-metre high figures in metal and glass entitled Carnival in Venice,[82] exhibited at the Biennale and then at the request of Meda Mládková at the Kampa Museum. In 2005, he created a glass fountain for the Marriott Hotel in Prague (removed in 2011) and in 2006 a 12-metre glass wall for the Sheraton Hotel in Shanghai.[83] During the celebration of Czech glass and the exhibition Back to the Future[84] the concept for a new glass object, EXPO Squared, was created in collaboration with Preciosa. It was exhibited at Design Days in Dubai[85] and at Expo 2015 in Milan[86] [87] and an almost similar replica was acquired by the Museum of Glass and Costume Jewellery in Jablonec nad Nisou.[83] At the same time, he worked on new chandeliers for Preciosa and Lasvit.[25]

In 2006, for the 100th anniversary of Moser, he designed a collection of 12 vases, irregularly cut into three or more edges, with glued coloured and clear shapes.[88] All the objects were exhibited at the 2007 Frankfurt Fair in the Moser company stand and found buyers.[89] For the company's next anniversary in 2016, he created a new version of his 1957 Jubilee cup. In 2005, he created an original replica of his object from the Expo 58 for the exhibition of the Modern Art collection of the National Gallery in Prague in the Trade Fair Palace. For the celebration of the 160th anniversary of the Glass School in Kamenický Šenov in 2016, he joined in with glass light objects-columns, for which he used common products of the Elas Palme glassworks blown into wooden moulds.[83] In collaboration with Jiří Pačinek, he created sculptures from hot molten glass right at the glass furnace until his very late age.[25]

René Roubíček's pioneering work is inextricably linked to the worldwide emancipation of glassmaking in the sphere of free art.[21] René Roubíček thinks of glass as a living matter that cannot be completely controlled and needs to be liberated. This philosophical approach to his own work is similar to jazz music and gives glass a privileged position in the context of modern world art.[90]

Representation in collections

Listed in[39] [94] [43]

Exhibitions

Author´s (selection)

Collective (selection)

Notes

  1. Masakazu Yamamoto, Atsushi Takeda, in: René Roubíček: Liberated Glass, Koganezaki, 2000, p. 6
  2. Šetlík J, 2013, p. 6
  3. Volf P, 2015, p. 53
  4. Volf P, 2015, pp. 35-36
  5. Miloslav Disman was a radio director and dramatist since 1935, founder and choirmaster of the Radio Children's Ensemble and director of children's theatre during the war
  6. Petr Volf, 2015, p. 56
  7. https://aukro.cz/vaclav-brozik-slavnost-u-rubense-6973912192 Václav Brožík: Celebration at Rubens
  8. René Roubíček, in: Petr Volf, 2015, p. 54
  9. https://www.lidovky.cz/domov/sklo-vsechno-dela-za-me.A071011_000144_ln_noviny_sko Jana Machalická: (R. Roubíček) - Glass does everything for me, Lidovky 11.10.2007
  10. René Roubíček -Less Known Traits of the Artist 2022, p. 57
  11. René Roubíček, in: Petr Volf, 2015, p. 87
  12. Antonín Langhamer, Sklář a keramik 5-6, 2018, pp. 135
  13. Antonín Langhamer. 51
  14. Sylva Petrová, 2001, p. 35
  15. René Roubíček, The Adventure of Glass, in: P. Volf, Vzrušení, 2006, s. 155
  16. René Roubíček - artistic visionary, in: René Roubíček, 2022, p. 1, 60
  17. Antonín Langhamer, 1999, p. 247
  18. René Roubíček -Less Known Traits of the Artist 2022, p. 60
  19. René Roubíček, The Adventure of Glass, in: P. Volf, Vzrušení, 2006, s. 156
  20. Šetlík J, 2013, p. 7
  21. http://www.igsymposium. cz/2012/roubicek-en IGS: René Roubíček
  22. https://cs.isabart. org/group/562 Creative group of applied art Bilance
  23. https://www.umeleckabeseda.cz/roubicek-rene- Umělecká beseda: Roubíček René - art glassmaker
  24. Milan Hlaveš, 2016, p. 64
  25. Antonín Langhamer: Jubilant René Roubíček, Sklář a keramik 1-2, 2017, pp. 37–40
  26. https://www.antik-v-dlouhe. cz/cs/starozitnictvi/rene-roubicek-1922-2018-and-sklarna-beranek-later-sklarna-ustredi-art-remesel-skrdlovice René Roubíček and the Beránek glassworks, later ÚLUV Škrdlovice
  27. https://www.moser.com/en/about-moser/people-1/rene-roubicek Moser: René Roubíček
  28. https://www.euro.cz/clanky/sila-krehkosti-n-1483393/ The Power of Fragility, Euro.cz, 29 September 2020
  29. http://www.pacinekglass.com/#about Pačinek Glass: about
  30. https://liberec.rozhlas.cz/v-novem-boru-zahajili-12-mezinarodni-sklarske-sympozium-organizatori-poprve-6005189 In Nový Bor, they launched the 12th IGS Glass Symposium. International Glass Symposium. The organisers also opened the Glass Hall of Fame for the first time, ČRo Liberec, 2.10.2015
  31. Šetlík J, 2013, p. 17
  32. Jiří Bohdálek, Brno 2015
  33. https://web.archive.org/web/20140315012221/http://www.boreksipek.com/2-worksCZ.html Bořek Šípek: A life of architecture and design
  34. https://ct24.ceskatelevize.cz/kultura/2470054-zemrel-rene-roubicek-ktery-se-radil-k-otcum-moderniho-sklarskeho-umeni René Roubíček, who was one of the fathers of modern glass art, died, CT 24, 4 May 2018
  35. René Roubíček -Less Known Traits of the Artist 2022, p. 6
  36. Helmut Ricke (ed.), 2005, p. 394
  37. https://en.isabart.org/person/1204 abART: René Roubíček, Awards
  38. https://ceskolipsky.denik.cz/zpravy_region/vytvarnik-roubicek-je-cestnym-obcanem-kamenickeho-senova-20120325.html The artist Roubíček is an honorary citizen of Kamenický Šenov
  39. http://www.igsymposium.cz/2015/Roubicek-en IGS Symposium: René Roubíček
  40. https://cesky.radio.cz/cenu-libereckeho-hejtmana-ziskalo-sest-osobnosti-vcetne-roubicka-8243946 Six personalities, including Roubíček, received the Liberec Governor's Award, Radio Prague International, 30.10.2015
  41. http://www.igsymposium.cz/2015/sinslavy-cz Síň slávy / Hall of Fame IGS: Miluše Roubíčková and René Roubíček, 2015
  42. https://www.senat.cz/cinnost/pametni_medaile/index.php Silver Medals of the Senate President: 2016
  43. René Roubíček: Less Known Traits of the Glass Artist, 2022, pp. 14–15
  44. Sylva Petrová, 2001, p. 70
  45. Antonín Langhamer, 1992
  46. Sylva Petrová, 2001, p. 32
  47. René Roubíček -Less Known Traits of the Artist 2022, p. 28
  48. René Roubíček -Less Known Traits of the Artist 2022, p. 27
  49. http://glass.cz/list/news.htm Antonín Langhamer: René Roubíček
  50. Petr Volf, 2015, p. 13
  51. Antonín Langhamer, 1999, p. 170
  52. Klivar M, 1999, p. 16
  53. René Roubíček, in: Petr Volf, 2015, p. 102
  54. René Roubíček, in: Petr Volf, 2015, p. 144
  55. Antonín Langhamer: Náš současník – jubilant René Roubíček, Sklář a keramik 1–2, 2012, p. 45
  56. Sylva Petrová, 2001, p. 53
  57. Hlaveš M (ed.), 2007, p. 52
  58. Hetteš K, 1964, no. 26
  59. Sylva Petrová, 2001, p. 81
  60. René Roubíček, in: Sklo nepočká - portrét jazzového skláře René Roubíčka / Glass Will Not Wait - A Portrait of the Jazz Glassmaker René Roubíček, 2015, p. 85
  61. Atsushi Takeda, in: René Roubíček: Liberated Glass, Koganezaki, 2000, pp. 7, 51
  62. Antonín Langhamer, 1999, pp. 186–187
  63. https://www.archiweb.cz/b/ceskoslovenske-velvyslanectvi-v-londyne Archiweb: Československé velvyslanectví v Londýně
  64. https://www.lidovky.cz/relax/design/sklar-roubicek-poprve-vystavuje-sve-lustry.A120324_201551_ln-bydleni_ter Roubíček a jeho lustry / Roubíček and his chandeliers, Lidovky, 25.3.2012
  65. Šetlík J, 2013, p. 13
  66. Sylva Petrová, 2001, p. 85
  67. Antonín Langhamer, 1999, p. 187
  68. René Roubíček, in: Petr Volf, 2015, p. 127
  69. http://www.gallery.cz/cgi-bin/gallery/hynekol/aps.sh?VSS_SERV=GAL000001&galpre=1650&language=cz Homage to Nicolaus Copernicus
  70. René Roubíček, The Adventure of Glass, in: P. Volf, Vzrušení, 2006, p. 157
  71. Šetlík J, 2013, p. 10
  72. René Roubíček, in: Petr Volf, 2015, p. 145
  73. René Roubíček: Liberated Glass, Koganezaki, 2000, p. 51
  74. Sylva Petrová, 2001, p. 106
  75. Atsushi Takeda, in. 38-40
  76. http://www.gallery.cz/cgi-bin/gallery/hynekol/aps.sh?VSS_SERV=GAL000001&galpre=13473&language=en René Roubíček: Gehry's Dance
  77. Atsushi Takeda, in: René Roubíček: Liberated Glass, Koganezaki, 2000, p. 8, 18-27
  78. René Roubíček: Liberated Glass, Koganezaki, 2000, p. 28-37
  79. http://createam.cz/upload/stories/concerto_glassico/2016_katalog.pdf Concerto Glassico, the Czech Art of Glass: René Roubíček, 2016, p. 16
  80. René Roubíček -Less Known Traits of the Artist 2022, p. 48
  81. Šetlík J, 2013, p. 18
  82. René Roubíček -Less Known Traits of the Artist 2022, pp. 50-51
  83. red. Sklář a keramik 5-6, 2018, p. 136
  84. https://www.designcabinet.cz/expo2-reneho-roubicka-bude-prezentovat-ceske-sklo-a-design-v-dubaji René Roubíček's Expo2 will present Czech glass and design in Dubai, Design Cabinet, cz, 16.3.2015
  85. https://www.lidovky.cz/relax/design/ceske-sklo-obdivuje-dubaj-roubicek-ozivil-objekt-expo.A150316_162418_ln-bydleni_toh Czech glass admires Dubai. Roubíček revived the EXPO object, Lidovky, 17.3.2015
  86. https://www.glassismore.com/core/content.php-&option=viewitem&id=80&rd=978&le=120&bp=2&rg=.html Glass is more!: René Roubíček, 9.4.2015
  87. https://www.idnes.cz/bydleni/architektura/rene-roubicek.A140614_194010_architektura_rez Unique sculpture made of Czech crystal was created in Preciosa for six months, iDNES, 15.6. 2014
  88. René Roubíček -Less Known Traits of the Artist 2022, p. 52-53
  89. http://glass.cz/list/news.htm Antonín Langhamer: René Roubíček and the Moser Karlovy Vary company
  90. Atsushi Takeda, in: René Roubíček: Liberated Glass, Koganezaki, 2000, pp. 10–13
  91. Šetlík J, 2013, p. 20
  92. https://www.upm.cz/rene-roubicek-99-vyroci-narozeni/ National Gallery in Prague: René Roubíček, Expo 58
  93. https://cs.isabart.org/person/1204/represented René Roubíček: Represented
  94. Atsushi Takeda: René Roubíček - Liberated Glass, Koganezaki Glass Museum 2000, p. 54

Sources

Author catalogues

Encyclopaedias

Collective catalogues (selection)

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External links

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