František Hudeček (1909-1990) was a Czech painter, photographer, illustrator, typographer and graphic artist. Between 1928 and 1931 he studied at the School of Applied Arts in Prague in the studio of František Kysela. He was a member of Umělecká beseda and Group 42, in the 1960s also the creative group Radar.

Representation in collections: His work is represented in the collections of a number of important institutions in the Czech Republic - for example in Aleš's South Bohemian Gallery in Hluboká nad Vltavou, North Bohemian Gallery of Fine Arts in Litoměřice, West Bohemian Gallery in Pilsen, East Bohemian Gallery in Pardubice or the National Gallery in Prague.

Selection of exhibitions: He has exhibited regularly since the 1930s, and his work has been the subject of more than forty exhibitions since then. First at the Zlín Salons, then at the exhibitions of Umělecká beseda and Group 42. In 1946 he was one of the artists who represented Czechoslovak art at the Paris exhibition at the La Boëtie Gallery (Art Tchécoslovaque 1938 - 1946) and in 1947 he exhibited at similarly tuned exhibitions in Antwerp, Lucerne and Rio de Janeiro.

In the mid-1930s, he used a number of experimental techniques for inspiration - frotting or accidentally solidified starch papers, so-called starches. It was the starchers who created probably his most famous work - the Socrates and Faidros object, or about beauty (GASK - Gallery of the Central Bohemian Region). In the late 1930s, he realized that the path of pure surrealist fantasy was blind. So he returned to the seen world, the city and man, the lonely man, the man bound by the city - to the night pedestrian, in which Hudeček created his own alter ego. He became more and more inclined to the geometric expression of the order of the universe or the urban landscape.
After a long pause in the 1950s, he returned to painting. As before and perhaps even more intensely, you can feel the division of his work into two completely different layers - on the one hand impenetrable scrums of matter, forest or tree, and on the other hand purely geometric networks, waves and checkerboard overlapping brightly colored surfaces artistically resembling spectral properties of lights. With some of his paintings, he approached almost in his late work
famous op-art.