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Bronze, colored. Olbram Zoubek's direction was fundamentally influenced by his first trip abroad to Greece. He took this trip in the late 1950s with his first wife, acclaimed Czech sculptor Eva Kmentová. “Sculptures from the apex of Greek antiquity are exceptional in that they exude physical and spiritual harmony. They are inspired by the physical form of man, but contain something permanent and divine. When this happens in art, it's something of a miracle,” Zoubek says. He himself modeled larger-than-life statues as thin verticals endowed with emotion, whose movements and gestures aim upward. “I like making sculptures in mid-movement – they're in mid-stride, mid-breath, almost in a state of weightlessness or perhaps even flying. Few of my statues have their feet planted on the ground! They're either on the tips of their toes or they have left the ground. Each carries a certain mood, gesture, or even an inaudible shout, as if they would like to meet and speak with each other. I'm glad that this is possible at the Riding School now,” says Olbram Zoubek, whose style was inspired not only by ancient patterns, but also by Alberto Giacometti's sculptures and female beauty. The unique sculpture by one of the most important Czech sculptors of the second half of the 20th century is executed in bronze and colored blue and white. It was exhibited together with the other two statues at Olbram Zoubek's retrospective exhibition at Prague Castle Riding Hall in 2013.