Naděžda Plíšková (6 November 1934 Rozdělov u Kladna - 16 September 1999 Prague) was a Czech printmaker, painter, ceramist, author of sculptural objects and poet.

In 1958-1959 she took a scholarship at the Hochschule für Grafik und Buchkunst Leipzig (prof. Gerhard Kurt Miller), which she completed with a series of woodcuts for books by Karel Čapek.

She was then accepted to study painting in the studio of Prof. Karel Souček at the Academy of Fine Arts in Prague, where she spent two more honorary years after graduation (1961) and passed the state exam (Prof. Jiří Kotalík).

After the fall of the communist regime in 1989, she was a founding member of the free association Tolerance, but her artistic and literary work is clearly marked by her unhappy personal fate until the late 1990s.

In her first drawings, she still refers to informel and the legacy of surrealism (Couple, 1963, The Jealous Beetle, 1966), but gradually concentrates on ironic reflection on contemporary themes (On the Subject of Caesar's Thumb, 1970).

[7] She had an amazing imagination, with which she was able to react with light exaggeration to the unquestionable values of the past (Mona Lisa, 1968; The Memory of Botticelli, 1968; Hieronymus Bosch's Dice, 1973) and to relativise everyday situations (Triptych, 1967).

Plíšková reflected her position as a woman in the predominantly patriarchal society of banned artists and the underground in an original way, e.g. with sarcastic designs from the 1990s for her monument, or a graphic commentary on the promoted ideal of the perfect young female body (Re-stiching, 1968).

The mundane situations she observed and explored with analytical detachment may be reminiscent of Western European or American pop art (Ideal Sauce, 1968; Study for a Painting, 1968), with which she has been compared by most Czech and foreign critics.

Had she lived in the Western world, she would probably have naturally aligned herself with artists who responded to the consumer lifestyle with a sharp criticality and at the same time with a distinct sense of expressing the absurd.

She also ironized the proclaimed social security and a certain standard of living offered to citizens by the normalization regime in exchange for their resignation to dealing with public affairs (Knedlík základ rodiny / Dumpling the basis of the family, 1982).