Jaroslav Rössler

Jaroslav Rössler (1902 – 1990) studied in the atelier of František Drtikol as a laboratory technician. As a 21 years old, he began collaboration with the art theorist Karel Teige, who assigned him to create typographic layout for magazines Pásmo, Disk, Stavba and ReD (Revue Devětsilu). In 1923, he became a member of the avant-garde association Devětsil. In 1925, he went on a six-month study visit to Paris and in 1927, Rössler moved to Paris together with his wife, Gertruda Fischerová. He collaborated with the experimental studio of Lucien Lorell, and worked on commissions for notable companies such as Michelin and Shell. However, later he found an interest in the “street life” of Paris, which influenced his future stay in the city. During some protests, he was arrested, and after a six-month imprisonment he was expelled from the country in 1935.

After his return from Paris, Rössler opened a small photographic atelier in Prague, but difficulties associated with the management of the studio caused a significant gap in his artistic work, lasting for almost two decades. In the 1950s, he resumed his previous activities and again began experimenting with the camera and photographic techniques. He created so-called “prizmata” (prisms), photographs taken through a birefringent prism. Additionally, he experimented with solarisation and explored the possibilities of the Sabatier effect.

In his works he utilized and combined the techniques of photogram, photomontage, collage and drawing. The beginnings of his photographic work were influenced by Cubism and Futurism, but he also attempted to create the first abstract photographs. Jaroslav Rössler was a pioneer of Czech avant-garde photography and a member of the association of Czech avant-garde artists Devětsil (Butterbur). Together with František Drtikol, Josef Sudek and Jaromír Funke, is today considered an important exponent of Czech modern photography and avant-garde art.