In the catalogue of the collections of the French museums you can find Tavik František Šimon, too.
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Domaine peinture
Type d'objet tableau
Auteur / Exécutant Šimon T F
Ecole France
Période 1er quart 20e siècle
Millésime 1911 vers
Matériaux / Techniques peinture à l'huile; toile
Dimensions  52 H ; 52 L
Inscription signé 
Précision inscription T.F.Šimon (S.B.G.)
Sujet représenté vue d'architecture (ville, Bruges, hiver)
Lieu de conservation Toulouse; musée des Augustins 
Musée de France au sens de la loi n°2002-5 du 4 janvier 2002
Statut juridique

propriété de l'Etat

N° inventaire

RO 724 ; D-1911-3

Dépôt / chgt affectation

en dépôt ; Toulouse ; Musée des Augustins

Date de dépôt / affectation



support et surface peinte carré


CAT. 1920 n° 724


"Bruges in Snow" (Winter in Brugge/L'hiver à Bruges)
Oil on canvas, 52 x 52 cm. Signature l.b. T F Šimon.
Musée des Augustins, Toulouse (France). 
Formely in the collection of the Musée de Luxembourg


The studio in Prague of  T. François Šimon reveals the development of an artist of international repute from a colorist and impressionist to a decorative painter within twenty years. One of the best known pictures "Bruges in Snow" hangs in the Luxembourg, in Paris. 
To the average man in the street who pauses to consider art, Šimon is known to him as an etcher. In the smaller circle of artists and artcritics, Šimon is painter first and etcher second. And it is as painter Šimon would prefer history should record on him. He is today one of the leading Czech painters and is probably, without exaggeration, the master of the decorative school in his country. 

"Concarneau Fishing Boats", demonstrates his instinct for balance and composition, but does not do justice to his feeling for colour, a feeling manifested in all Czech and Slovak art, whether it be painting, ceramics, or even peasant embroideries. And however lovely a picture this sturdy scene of the fishing boats in Concarneau may be, it still scarcely signifies the new movement in Šimon's painting. 

Šimon told the writer that a painting should not make
a hole in a wall-his own words- but should add to and build up the decorative effect of the room, be in harmony with the architecture of the room, with furnishings. Design, rhythm - these have now, together with a new interpretation of colour values - succeeded in absorbing his interest. His groups of figures in flowing draperies by the seashore or by trees are definitely constructed after the somewhat severe manner of murals. To the writer, the simplier charm of the "Concarneau Fishing Boats" is more convincing and would be more agreable to have in one's room than a large canvas of rhythmically arranged and rather conventional figures, however beautiful they might be. Šimon must, however carry out of his own inspiration. 
He has something in his new art which is rarely found in such a finished form among artists today.


From an AMERICAN NEWSPAPER. Around 1925. 

T.F. Šimon: Concarneau Fishing Boats"",
Oil on canvas.





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