in paintings that bear the word Birth or Nativity in their title. In them, organic shapes are combined with intangible bursts of light that recall the haloes of religious images or the transpersonal visions of spiritist mediums. One stage of the drawings is represented by meticulously constructed microscopic details assembled into exploded tissues. Anna Zemánková has often consistently rendered tens of thousands of dots and lines in a single painting. Later, in this fascination with microstructures, she discovered the technique of perforation. The possibility of illuminating a perforated drawing led her to produce lampshades with which she beautified her apartment. After her first exhibition in 1966, she temporarily succumbed to the admiration of the public, began to sign her works, and a certain mannerism and aestheticization prevailed in her work. She no longer dwelled on small drawings, the background of her drawings were effectively shaded by spreading coloured pigment and her compositions became more decorative. The 1970s represent a new peak in her work. Against a subtly tinted background, she created floating and hallucinatorily perfect flowers that give a detached impression despite their meticulously executed drawings. She combines pastel with crayon and pen to mark out the lines and uses aniline paint to accentuate the colours. She has also begun to create drawings for her admirers on small postcard formats and on small handmade paper cards. These she then sent out as invitations or New Year's cards. Handmade paper also inspired her to use the technique of embossing wet paper on a soft polystyrene backing. She then reinforced the resulting relief with glue. She also began to use the technique of collage, using layered papers to create hanging objects such as allegorical birds or butterflies. She sewed lace crocheted from cotton or artificial lycra into her drawings and added beads, sequins and glass diamonds. These assemblages were close in meaning to sacred objects or reliquaries. It is easy to overlook the rawness of the gesture and the intense power emanating from the result because of the beauty of the flowers, the rich colors of the cottons, the beads, and the luster of the satin from which she assembled her assemblages. In the second half of the 1970s, she created textile collages from scraps of satin, which she starched and, after gluing to a paper backing, decorated with ornamental marks using fabric paint, pen, pastel or marker. Using the same technique