František Ronovský was above all a painter of the new figuration, a dedicated figurative artist, often working on large canvases. In the early 1960s, he went through a brief period of abstraction.
At first, his work focused on motifs of cafés and female acts, experimenting with encaustic techniques. He was also drawn to themes of Calvary and Pietà.
Later, his artistic development was influenced by study trips abroad, with part of his work devoted, for example, to Paris.
In 1968, he exhibited at the Venice Biennale, and the following year in São Paulo.
His monumental paintings are installed in a number of places on the ground floor, in the Grand Ballroom foyer and in the hotel lobby.
