Miloslav Moucha (born 25.3.1942 in Litvínov), an art autodidact, studied at the High School in Teplice and after military service at the Faculty of Education in Ústí nad Labem. The beginnings of his professional approach to art are associated with the person of Josef Jedlička, an intellectual living in the north of Bohemia in post-war exile. In 1968, Mucha emigrated the to Paris. At the turn of the sixties and seventies in France, he devoted himself to conceptional art that reflected in his geometrical compositions during the 1970s and 1980s. His work is getting more reputation in France and his work is becoming interesting for the professional art critics, such as for example, P. Restany). At the same time he
Prior to 1978, he devoted himself to conceptual art, letting go of his artistic beginnings before emigration, influenced by life and atmosphere in Litvínov. In the turn of the year 1978 he painted a BOD/ POINT. He painted more than 20 paintings of points. It was a daily meditative activity for him, as well as the beginning and development of geometric abstraction. Geometry is a language for Moucha that can express something that can not be said in another language. In the 80's and 90's he develops geometric painting in major painting cycles - Spanish cycle, St. John's Cycle, Cycle by St. George, Berez Cycle and Song of Songs. At that time he remarks ... "If man does not have enaough words to express his knowledge, he resorts to symbols. Symbols have the richest content and the most simple forms, we call them geometric ". Symbolic and most spiritual are especially the two of his cycles - Bereshit and Song of Songs. ">
Around 2000, the painted a series of landscapes and so-called still life in the landscape. It emits a special atmosphere, but also a specific season or time of day through a concentrated view of part, but also of detail in the landscape (puddle, haystack, boulder, tree, etc.)
Recently he has returned to the landscapes and symbolic cycles and his work is filled with painting synthesis, manifested in the fullness and intensity of colors, oscillating between the concrete and the abstract.