Toyen. Smutný Den (Sad Day). 1942.
Toyen (Marie Čermínová), Spojité Nádoby (Les Vases Communicants), André Breton, S.V.U. Mánes, Prague, 1934.
Toyen. Illustration for Veselé Pohádky z Celého Světa, by Marie Majerová. 1930.
Jindřich Štyrský. Alabastrová Ručička (Little Alabaster Hand). 1940.
Jindřich Štyrský. Untitled, Glasses and Asparagus. Stěhovací Kabinet (The Portable Cabinet). 1934.
Toyen, Jindřich Heisler. Schovej Se Válko: Cyclus Devíti Kreseb. 1944.
Jindřich Štyrský. Stěhovací Kabinet (The Portable Cabinet). 1938.
Toyen. Cover Design for André Breton's Spojite Nadoby (Vessels). Czechoslovakia. 1934.
Adolf Hoffmeister. Toyen. 1930.
Toyen. Untitled Collage. 1930s.
Jindřich Štyrský. Illustrations for Nezval's Židovský Hřbitov.1928.
Jindřich Heisler. Untitled, Philosophy in the Boudoir, L’Escalier, Bones, Objeto, Dolls at Window, Untitled, Man and Loose Boot, Untitled (Skeleton), Running Figure Pursued by Bird (top to bottom). 1940-1945.
Czech poet, photographer, and object-maker Jindřich Heisler began his creative career around 1935 and in 1938 joined Czechoslovakia’s Surrealist Group. Within months of his entrance, however, the Nazi occupation drove Surrealism underground, and Heisler, the child of a mixed-faith marriage, spent most of 1941–1945 in hiding. Sequestered at a friend’s apartment during this time of great danger for Jewish and avant-garde artists alike, Heisler created a diverse and whimsical body of work—books of poetry, photographic series, and assemblage objects. In 1947, having survived the German occupation and sensing the return of totalitarianism at home, Heisler, along with his close friend and fellow artist Toyen (Marie Čermínová), said fuck it and moved to Paris to join the French Surrealist movement.
Toyen (Marie Čermínová). Message of the Forest. 1934.