Abstract
The study deals with prefigurations of iconographic motif of car wreck in the landscape. On the example of Vladivoj Kotyza's canvas Hurry, noon ends, the border is not far (1964-1967) and drawings Wrecks (1964) of Kotyza's classmate in the Academy of Fine Arts, Jan Jedlička, the study points to the migration of the theme with examples of American photographer Walker Evans and the work of Salvador Dali.
Kotyza's part of the nature with a car wreck is a special area, like zone in Tarkovsky's film Stalker (1979). It is a zone with an artificially created world with hermetically closed borders.