At the estate farm he spent his childhood, acquiring first life sensations, developing imagination and drawing inspiration (among others through an illustrations by Adolf Kašpar, from a favourite book The Grandmother, in Czech: Babička).

From 1 July 1945 he was employed as an assistant professor in the institute of drawing and painting at the School of Architecture and Building Construction in Prague.

An apparent influence on him had illustrations by Adolf Kašpar, as we may assume, since there is a correlation in expression with works of Bohuš Čížek, as well in proportions of his figures, those realistically externalized.

He was then led by painter Antonín Kameník at school in Prostějov, who was a disciple of professors Vlaho Bukovac and František Ženíšek at the Academy of Fine Arts in Prague.

Portrayed in Mr. Čížek's works, the era of the end of thirties then gave, as it was a forebode of evil and war, and then in forties, reflecting his feelings, be it an inwardly dramatic figurative art in subdued tones, rather rare nude paintings too, or an expressive depiction of trees and outbuildings with a deeply radiant or contrasting colour emphasizing disillution from just occurring reality.

(House in the Woods, 1940; Near the Village of Lešany, 1943; Rusava, 1943) His works made during the war or from a period when he was an assistant professor at the university refer to "Old Masters" or incline to cubism, precisely cubistic expressionism.

There is a shift from his cubistically expressionistic understanding of reality into suprareality, conceived by his own self, which is more lyrical, of an apparent geometrization, and with an elements of fauvism.

The author depicts roofs of blocks of flats, Prague's arcades, interiors and exteriors with people and transilluminated window-cases reflecting on light.

(Café, 1946; Quayage, 1947; Spring, 1948) It is possible to notice that shift to the above-reality then also in another book illustrated by him, this time a fantasy one Earth of Auroral Sky (in Czech: Země červánků) by Jan J. Holub (Miroslav a Josef Stejskal Praha – Brno, 1946).

Its vernissage was attended by Pablo Picasso, who at dinner upon an invitation of envoy Adolf Hoffmeister, entirely drew a snowwhite table cloth prepared with this intention by him, which was then however in the morning taken to be washed by chambermaid..., his muse Dora Maar, writer Louis Aragon, Tristan Tzara, Fernand Léger and others.

(Autumn Manor, 1954; Pod Spiritkou, 1954; Ladronka, 1956) There are also releases of books with his illustrations and cover designs in the 1950s, namely A Hundreds of Fires and Other Short Stories (in Czech: Sto ohňů a jiné povídky) by Ludvík Aškenazy (SNDK, Prague, 1953) and Journeymen (in Czech: Tovaryši) by Donát Šajner (SNDK, Prague, 1953).

He also created illustrations by Státní pedagogické nakladatelství for "The Living Alphabet" (in Czech: Živá abeceda), boards for each letter, and historic painting of storming of the Hussites.

A signifact part of his works then comprise village themes, picturesque little houses, parks and gardens, which he draws inspiration for in the landscapes of Šumava, Orlické hory, and in the outskirts of Prague.

An approach of a modernist changes to a plainer and more perspicuous way of an expression, since the year of 1970 presumably emanating from French post-impressionism, in case of some of his paintings with a temperate extension to the so-called "naive" art, and bearing signs of a sophisticated collage technique too (From Volyňsko, 1979) – perhaps an intention of the author to free from worries of life and to pass on this idylic feeling to his watcher.