Ladislav Sutnar’s activities in the 1920s and thirties included designs and realizations of toys and marionettes. He produced designs of painted wooden toys especially as part of his teaching practice at the State Institute of Education in Prague. Amidst an array of realistic-looking toys, his spring toys shaped as exotic animals were distinguished by a sparse monochrome colour palette and simply stylized forms.
Various transport vehicles designed by Sutnar – automobiles, trucks, trains and trams – reflected the modern world and the rapid tempo of contemporary urban life. In the child’s hands, the construction toys consisting of coloured building blocks with simple geometric motifs turned into buildings and factories in a great many variations. In his day, the changing puppetry traditions incited Sutnar’s interest in puppet theatre and marionettes. The puppetry renascence period (from the late 19th century to the end of World War I) brought endeavours to legitimize puppet theatre and puppets as a full-fledged art form. Together with this trend, puppetry strove to emancipate puppets from being mere imitations of live actors and subsequently developed the distinctive qualities of the puppets as an artefact and art category in its own right and with its own specificities. In the late 1920s and early thirties, the theatre avant-garde endorsed the artistic unity of scenery and puppets. In the 1920s, Sutnar created several types of stylized, cubicized and brightly coloured marionettes intended for family puppet shows. In 1924–1925, he worked as art manager for the Left-oriented Puppet Theatre of the Workers’ Academy in Prague, later renamed the Drak (Dragon) theatre. In 1921, at the behest of Jindřich Veselý, the editor-in-chief of the Loutkář (Puppeteer) magazine and an active puppet theatre promoter, Sutnar had exhibited his stage-set designs at the Second Collective Puppetry Exhibition held in the Topičův salon gallery. The pages of Loutkář were witness to heated discussions on the future course of puppet theatres, in which Sutnar also took part. After withdrawing from the Workers’ Academy, Ladislav Sutnar engaged in scenographic projects only sporadically, for instance in his designs for the Second Czechoslovak Workers’ Olympics in 1927.
The museum was fortunate to acquire from a private collection a unique assembly of puppets and puppet furniture dating from 1923–1925, of which it had previously owned only the frequently published figure of Knight. The acquisition also consists of two sets of modern puppets for a 1920s home puppet theatre.

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Ladislav Sutnar:...) Krásná jizba dp...) Ceramics and its...) Hana Podolská, a...) The launch of...) The Studio of...) Glass in Photography) Overpressure. A...) Historical...) Koudelka: Returning) Small Worlds:...) Residence: Prefab...) Director’s Choice) ARTCERAMICS / CZ...) 7th International...)