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1 najznámejších obrazov od Pavol Muška, výber z galérie
Aktualizované november 2026 · zoradené podľa našej miery popularity (vyhľadávanie, návštevy a objednávky pre každou prácu) · 13 dielov umelca Pavol Muška v našom katalógu
Stručne povedané
Z všetkých originálov, ktoré Pavol Muška zanechal, je najznámejší Touch of the Century (1987), ktorý sa nachádza v zbierkach Oravská galéria v Dolnom Kubíne v meste Dolná Kúba. Náš katalóg obsahuje 13 diel od Pavol Muška; galéria si zachovala tých 1, ktoré obdivuje celý svet, pričom každý z nich je prezentovaný spolu s jeho dátumom, múzeou a príbehom.
narodený 1949, Čierny Brod
Najviac diel: Oravská galéria v Dolnom Kubíne
Top 10 obrazov umelca Pavol Muška: výber galérie
Múzeá, ktoré uchovávajú originály umelca Pavol Muška
Múzeum, ktoré vlastní najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Pavol Muška | Obrazy z tohto zoznamu |
|---|---|---|---|
 Oravská galéria v Dolnom Kubíne |
Dolná Kúba | 1 | Touch of the Century |
Pavol Muška rok po roku: originály, ktoré definujú každú éru
1987 je rok každého datovaného diela umelca Pavol Muška v tomto výberu: tu sú, usporiadané podľa slávy.
Diela podľa roku
Vyberte si rok a pozrite si originály.
Otázky zberateľov o obrazoch od Pavol Muška
Ktorým dielom je Pavol Muška najznámejší/najznámejšia?Odhaľte odpoveď
Touch of the Century (1987)
V akom veku bol/a Pavol Muška, keď vzniklo dielo Touch of the Century?Odhaľte odpoveď
38 rokov: Touch of the Century vzniklo v roku 1987 a Pavol Muška sa narodil/a v roku 1949.
Koľko obrazov zanechal umenec Pavol Muška?Odhaľte odpoveď
Náš katalóg obsahuje 13 diel od Pavol Muška.
V ktorých múzeách visia majstrovské diela umelca Pavol Muška?Odhaľte odpoveď
Väčšinou v Oravská galéria v Dolnom Kubíne (Dolná Kúba). Tabuľka múzeí vyššie ich všetky uvádza.
Pavol Muška: život a dielo
The Versatile Hand of Pavol Muška
To understand the output of Pavol Muška, one must look past the singular label of painter. He is a practitioner of many forms, a figure whose technical range spans from the precision of a kresliar (draughtsman) to the expansive scope of a maliar (painter). Born in Čierny Brod on 21 June 1949, his career is defined by a refusal to settle into a single medium. He has worked as a fotograf, a portrétista, a krajinár, and a textilný výtvarník. This breadth is not a sign of indecision but of a disciplined command over different surfaces, whether they be paper, canvas, or textile.
His formal training provided the structural foundation for this versatility. Between 1967 and 1973, he studied at VŠVU Bratislava, absorbing the methodologies of prof. Dezider Milly, prof. Orest Dubay, and doc. Ján Matejko. This period of study was not merely academic; it was the crucible where his ability to handle diverse materials was forged. By the time he participated in his 1973 diploma works exhibition at VŠVU, the trajectory of a multi-disciplinary artist was already set.
A Record of Presence
Muška’s presence in the exhibition circuit during the 1970s reveals a professional who was constantly moving across borders and mediums. His work was not confined to local galleries but was part of a broader exchange of ideas. His involvement in collective exhibitions shows a consistent engagement with both regional and international contexts:
- 1973: Banská štiavnica, ČeskoSlovenský art protis
- 1974: Banská Bystrica, Hradec Králové, and Monza, Taliansko
- 1975: Brno and Havana, Kuba
- 1977: Žilina, Celoslovenská výstava kresby
- 1978: Regensburg, NSR
These exhibitions were not mere appearances; they were assertions of a specific technical competence. In Havana, Kuba, his work contributed to the Československé tapisérie, proving his ability to translate visual language into the complex, tactile realm of textile art. This ability to adapt his technique to the medium—be it the soft application of pastel on paper or the structural demands of grafický dizajnér work—is what defines his professional output.
Institutional Impact and Legacy
Beyond his individual production, Muška’s significance is tied to the institutional development of art in his region. He was a zakladateľ (founder) of the Kysucká galéria, established on 27 November 1981. This was not a solitary effort but a collective action involving twelve other artists, including Stanislav Biroš and Miroslav Cipár. The foundation of this gallery was built upon the 1975 exhibition titled „Pozdrav umelcov rodnému kraju“, which provided the initial collection of sixty-six works that formed the gallery's core. This act of founding an institution ensures that his influence is not just found in individual objects, but in the very infrastructure of the art community.