Oldřich Jelínek

* 1930

  • "I had to get an exit clause for Prague. At the beginning, for that first visit, I had a permit to visit Prague. And that was just once, it was a completely confused time back then. Well, then, of course, it fell down and I went to Prague. But it was so sweet and sour, it was so bittersweet. Because Prague accepted me, it was beautiful, of course it changed a lot for me, in a scary way. I didn't know Prague, literally. Because the foreigners, the floods, it bothered me a lot. I thought to myself, they stole Prague from me. After all, I know every stone and I'm a foreigner here. That was not a good feeling, because I was going to Prague, I cried over Hradčany like an idiot, I touched the stones, over there by the National Theater, moved, and I went to sleep in the hotel. After all, I had nowhere to sleep! My son died and I simply had nowhere to stay. I slept in a hotel in Prague. It was always night, everyone went home, you are at home where you have a bed. I didn't have that bed in Prague."

  • "They were well-known in Trutnov, where I went. Such a group of artists was created there when we were doing all kinds of nonsense - a funeral room, or a ceremonial, not a funeral, ceremonial room and such nonsense. Well, the acquaintance told me: 'Vašek Havel has a cottage here. Come, let's go there to see him.' Well, so I met him and we were at his place. And now I remember it, those were beautiful conversations. He was marching past me on Hrádeček in a T-shirt like that, he had 'West point cadet (?)' on it, some such inscriptions. And now he told me - he was such an optimist. He made a huge impression on me, but I thought to myself: 'He's a child, he's a little boy, the kind who sees it so beautifully, but the poor little guy doesn't understand.' The idea that he would later become president... funny! Now we were looking for a job for him. So first we got it to a local printer, Vašek Havel. Of course, they fired him the next day. That Potoček, who owned the printing house, said that he had given him a job where he would take away waste paper. Like old scraps or papers to throw away. Immediately there was some staff member or something from the national committee: 'He is not allowed to work with the press.' And that Potoček says: 'Listen, he only takes away old papers.' of the press'. 'That is out of the question, he is not allowed to print'. So, they kicked him out immediately. Then he got into that brewery, you all know the play Václav Havel přikuluje, don't you?'

  • "During the war, when I was attending the secondary grammar school, I also met Áda Born there. Well, we both drew. He drew too, right. Well, we constantly, we used to meet every day. When the raid was, it was impossible to go to his place, because he lived in Pankrác. We didn't go to his place in Pankrác, but I had a room in that Podolí, like a studio, or my own room. It used to be the maid's room, and later I was in charge there. Well, and there we drew together, with that Áda. Well, we came up with silly things, which we illustrated, mainly in that school. We went to class together, of course. We knew each other from the secondary grammar school. We used to draw endless comics, right? I always started something like how he's walking down the street, like Ada, and he goes, there's a canal and he falls into it. And he, in turn, it's called, the Surrealists called 'cadaver... (?)', that everyone drew a piece and placed it and the other... And we didn't know that, I didn't know anything about the Surrealists at the time. And we came up with that at the time, that I drew a piece and immediately gave it back to Áda, because he was sitting a little behind me. And he in turn drew how he jumps out of the canal and kicks me in the ass, for example, and I know that the boys picked it up, the classmates who were sitting there, because we were drawing for them. The teacher for drawing found out, so I got in trouble because of that, and so did Áda, in that school. Because they preferred us, because when we had some teacher for drawing, who recognized that we had some talent, he exploited us by that - this was after the liberation - that we were drawing for the Vyšehrad, there was such a "pano", we drew such silly things for the school. It's just that we were more or less skiving off.'

  • Full recordings
  • 1

    Praha, 15.10.2021

    (audio)
    duration: 01:43:46
    media recorded in project Stories of the 20th Century TV
  • 2

    Praha, 17.12.2021

    (audio)
    duration: 01:39:58
    media recorded in project Stories of the 20th Century TV
  • 3

    Praha, 16.02.2022

    (audio)
    duration: 01:47:03
    media recorded in project Stories of the 20th Century TV
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In my dreams I was walking on the Charles Bridge

Oldřich Jelínek
Oldřich Jelínek
photo: archive of the witness

Oldřich Jelínek was born in Košice on February 26, 1930, in the family of a Czech industrial school professor. He was fascinated by the technique, which is a frequent object of his creations, since childhood. Even as a boy, he knew every car or motorcycle in his neighborhood. He soon began to paint his observations, in which his perceptive parents greatly supported him. In 1938, when the national tension in Slovakia escalated, the family decided to return to Czech. They found a new home with their relatives, in the family villa in Podolí, Prague. After completing the elementary school of St. Voršila he startedstudying at the secondary grammar school in Vratislavova Street. Adolf Born became his classmate there, in whom Oldřich Jelínek gained not only an accomplice for student mischiefs, but above all a long-time friend and collaborator. Both young men continued their studies first at UMPRUM (Academy of Arts, Architecture and Design in Prague), then at AVU (Academy of Fine Arts, Prague) under the guidance of Professor Pelc. Oldřich Jelínek spent his student years immersed in jazz, surrealism and the life of the literary underground in the circle of friends Egon Bondy and Ivo Vodseďálek, to whose samizdate edition Půlnoc he also contributed. After successfully graduating from the academy, he worked primarily as an illustrator of books for young people, cartoonist of Dikobraz, Mladý svět and many other leading magazines, which greatly contributed to his popularity. He experienced the events following the invasion of the Warsaw Pact troops in Switzerland, where he worked on the production of an animated film. Although in the years of normalization, thanks to his foreign successes, he was able to continue creating and exhibiting, he felt a deep disappointment in the state of society. He found encouragement in a circle of friends, among whom was also a group of artists from Trutnov region, thanks to whom he met Václav Havel. Oldřich Jelínek decided to leave the republic at the age of 51. This “jumping off the bridge”, as he calls his decision today, was driven by his desire for freedom and, above all, his wife’s wishes. The first years spent in Munich, which became his new home, were difficult. When the Czechoslovak Artcentrum “recommended” German galleries not to buy his works, Oldřich Jelínek literally had a new professional start. He made a name for himself in Germany by creating for advertising agencies and later as an artist and cartoonist for the weekly magazine Computer Woche. He lived a total of forty years in emigration, but “in his dreams he still walked across the Charles Bridge”. He returned to his beloved Prague permanently in 2021, where he lives and still creates (2022).