Miloslav Chlupáč (1920-2008) was a Czech sculptor, painter, photographer, curator, pedagogue and art historian.

Representation in collections: It is represented in the collections of the Aleš South Bohemian Gallery in Hluboká nad Vltavou, the Czech Museum of Fine Arts in Prague, NG in Prague, the East Bohemian Gallery in Pardubice, the Museum Moderner Kunst Stifftung Ludwig Wien and others, Galerie im Griechenbeisl, Vienna and many others. In 1967 he finally got to the world exhibition Expo 67 in Montreal. He then regularly exhibits around the world and his work receives special attention, especially in the USA (a joint exhibition Minisalon traveling between 1994 and 1997 between Nex York, Chicago and other US cities). In the Czech Republic, he is regularly commemorated at exhibitions (2005 Sculptures, Paintings, Drawings, Queen Anne's Summer Palace, Prague; 2009 Sculptures, Paintings, Drawings, U Betlémské kaple Gallery, Prague) and also in connection with his work in Umělecká beseda and May 57. his work can also be found in the form of many sculptures and sculptures in public space.

Selection of exhibitions: He first exhibited at the member exhibition of the Umělecká beseda in Prague in 1953. In 1957 he exhibited within the Creative Group May 57 and in the 1960s abroad (1965 Tschechoslowakische Kunst Heute, Städtische Kunstgalerie, Bochum; 1965 Miloslav Chlupáč, Zbyněk Sekal

Due to the closure of universities, Miloslav Chlupáč, who originally wanted to become a doctor, trained as a stone sculptor in the stonemason's plant in Kralupy nad Vltavou and in Otakar Velínský's stone sculptor's workshop in Prague. After the war, he graduated from the Academy of Arts, Architecture and Design in Prague in the studio of Josef Wagner, and also studied art theory. After the February coup, Chlupáč became uncomfortable with the regime, so he subsisted mainly on restoration. In the relaxed 1960s, he played an important role not only as an artist, but also as an organizer, occasional publicist and especially as an unofficial spokesman for the progressive wing of the art community, which was a counterweight to the Union of Czechoslovak Fine Artists. He was a member of the art group May 57, which in 1957 was the first to disrupt the monolith of official exhibition policy. In the relaxed 1960s, Chlupáč regularly exhibited and collaborated with architects on artistic realizations that were part of the interiors or public space. He participated in and co-organized many sculpture symposia, among them, together with Rudolf Uhr, he organized the first Czechoslovak sculpture symposium in Vyšné Ružbachy in Spiš, Slovakia. For sculptors behind the Iron Curtain, such a symposium was an exceptional opportunity to confront the foreign scene. At the end of the 1960s, it was in connection with the symposium that he managed to penetrate the highest floors of the international scene, especially his participation in the project En Ruta de la Amistad (The Way of Friendship), where he placed his monumental statue Las Tres Gracias (Three Graces). After the occupation, Chlupáč was one of the most affected visual artists. He made a living as a fireman, at the end of the 1970s he was allowed to return to restoration. He also devoted himself to pedagogical careers, especially after 1989, when he returned to traveling for symposia and sculpture. He carved his statues into stone himself until he was very old, even though he was seriously ill at the end of his life. Inspired by Cubism, he created monumental works related to the figure.