It was in interwar France that, for the first time, Reynek drew recognition from a cultivated public that discovered the delicate art of the “Czech from Grenoble” at exhibitions of his drawings. At post-war shows in 1950, 1953 and 1960, he revealed his talent as an engraver. The exhibition catalogue focuses on a specific period of his work, the 1950s, when art historian Nathalie Servonnat-Favier conducted painstaking research, which she summarised in an article entitled Reynek en France, de Job à Don Quichotte [Reynek in France, from Job to Don Quixote]. She analysed the artist’s development through his landscapes and Biblical scenes and traced his path to using colour with the monotype technique in engravings. An account by one of the artist’s oldest friends, Élizabeth Félix-Faure, who recalled Reynek’s “French” period, which is little known outside Dauphiné, follows this in-depth study.