MUCHA, Alphonse

Mucha co-pioneered a new style and influenced the fin de si�cle aesthetics. In the collective exhibition held in 1897 at the Salon des Cent, he showed three drawings for the intended series “Seven Deadly Sins”. Around 1900, he drew a series of pastels illustrating the struggle of Man for moral enlightenment, entitled “The Dregs of Society” that included the Absinth drawing.

The expressive illustration, with its contrast of the loud pastel colour and the blackness of the charcoal, is imbued with a symbolic meaning. In this image, the artist reveals humankind’s debased morality and unrestrained passions that ultimately lead to crimes and wars. As a Freemason, Mucha used the popularity of his artwork to disseminate his ideals of restoring spiritual humanity in people’s minds and hearts.

Mucha also designed banknotes for the Czechoslovak National Bank.

The boutique of the jeweller Georges Fouquet, located at 6, rue Royale in Paris, was designed in 1901 by Alphonse Mucha. It was dismantled in 1923 and reconstructed in the Mus�e Carnavalet. The stained glass windows are by L�on Fargues, the sculptures by Auguste Seysses.

The boutique of the jeweller Georges Fouquet, located at 6, rue Royale in Paris, was designed in 1901 by Alphonse Mucha. It was dismantled in 1923, and the interior was reconstructed in the Mus�e Carnavalet.

The Obecn� Dum (Municipal House) is an Art Nouveau building in Prague built between 1905 and 1912. It houses the Smetana Hall, a celebrated concert venue. Mucha’s ceiling fresco is in the Primator Hall.

The influence of Hans Makart, Eug�ne-Samuel Grasset, and the Pre-Raphaelites contributed to Mucha’s style, characterized by a sense of ornamentation, a balancing of realist and stylized elements, and a certain horror vacui. His taste for Byzantine art can be seen in the mosaic backgrounds and the portrayal of gorgeous garments laden with gold and precious gems. All these elements, used to enhance femininity, created a style that was perceived as typically Art Nouveau, despite Mucha’s assertion that ‘art is eternal, it cannot be new’, and his rejection of any direct links with the movement.

The picture shows a series of four panels, each depicting one of the four seasons personified by a woman. Originally it was printed circa 1897 and made into the “Chocolat Masson” and “Chocolat Mexican” Calendar of 1897.

Alphonse Mucha was influenced by Symbolism and the social aspects of William Morris’s Arts and Crafts Movement in England. He attempted to give access to the beauty of art to every social class and to elevate the decorative elements to the status of works of art. He developed his own aesthetic ideals and original style, which became the hallmark of his time and was also known as “Mucha Style”.

His graphic works are based on strong centred composition and symbolic themes featuring idealized young female figures in sensuous or provocative poses, entwined in vaporous hair and light dresses enriched by decorative ornaments inspired by nature, such as willowy foliage, flowers and extravagantly beautiful jewels. The figures are detailed by expressive darker lines and enriched by natural soft colours and gold. Functional and decorative friezes usually frame the illustrations, and the background space is filled with floral or abstract patterns.

This poster was created for the premi�re production of Victorien Sardou’s Gismonda, starring Sarah Bernhardt, at the Th�âtre de la Renaissance in Paris.

The first poster for Sarah Bernhardt and the Th�âtre de la Renaissance gave Mucha an artistic breakthrough virtually overnight and brought him fame. The actress is portrayed in the costume of Gismonda in the last act of the play; her impressive pose and rapt facial expression became the prototype of French poster art around 1900.

Mucha’s desire to create a life-size image of the actress led him to choose a large, elongated format. He took his inspiration from Byzantine mosaics to make Bernhardt into a magnificent, proud figure, which aroused surprise when it appeared on the walls of Paris in January 1895.

Coinciding with the Millennium Jubilee of the Czech patron saint St. Wenceslas (Duke of Bohemia), the Gothic reconstruction work for St. Vitus Cathedral in Prague was completed in 1929. The new stained glass window, designed by Mucha, was installed in the north nave in 1931.

The window portrays the boy St. Wenceslas with his grandmother St. Ludmila in the centre, surrounded by episodes from the lives of Sts. Cyril and Methodius, who spread Christianity among the Slavs. The image of Slavia is also included below Christ as an emblem of Slavia Bank, which funded the stained glass window.

The new stained glass window, designed by Mucha, portrays the boy St. Wenceslas with his grandmother St. Ludmila in the centre, surrounded by episodes from the lives of Sts. Cyril and Methodius, who spread Christianity among the Slavs.

The detail shows the image of Slavia, included below Christ as an emblem of Slavia Bank, which funded the stained glass window.

Moon and Stars is a colour lithograph decorative panel comprising four portrait orientation panels in the French Art Nouveau style.

The stars are personified via beautiful semi-nude young female forms in flowing robes, illuminated by moonlight. Their dramatic poses, contemplative yet energised, are offset by still, decorative green borders comprising repetitive floral motifs.

Each female form holds a different pose; two making eye contact with the viewer and two looking away from the viewer. The earthy colour tones of greens and browns provide a dramatic contrast against the white moonlight glowing from within the composition.

While working for Sarah Bernhardt, Mucha made posters for commercial firms, including those for Job (1898) and Moët et Chandon (1899). He also designed a large number of stamps, vignettes, calendars, illustrations, and ‘decorative panels’, a lithographic type developed for Mucha (e.g. Morning Awakening, 1899).

The picture shows a scene from the decoration of the Bosnia-Herzegovina pavilion at the Paris Universal Exposition of 1900.

This is an original watercolour for a printed fabric. Although the individual flowers are detailed, retaining an element of naturalism, Mucha has stylized the stems to create the sensual curving lines associated with the Art Nouveau style. The thick, dark outlines of the flowers and flat areas of colour are also a feature of Art Nouveau. Mucha has used soft, pastel colours for the flowers and included gentle curving shapes in the background.

Alphonse Mucha heavily influenced the Art Nouveau movement; there is probably no better summation of Mucha’s ideology and the principles of the Art Nouveau style than in the Documents D�coratifs, a stylebook published in Paris in 1902.

The Documents D�coratifs comprises 72 stunning plates that exemplify everything the movement is remembered for: decor, women, flowers, natural forms, structures, jewellery.

Alphonse Mucha heavily influenced the Art Nouveau movement; there is probably no better summation of Mucha’s ideology and the principles of the Art Nouveau style than in the Documents D�coratifs, a stylebook published in Paris in 1902.

The Documents D�coratifs comprises 72 stunning plates that exemplify everything the movement is remembered for: decor, women, flowers, natural forms, structures, jewellery.

Alphonse Mucha heavily influenced the Art Nouveau movement; there is probably no better summation of Mucha’s ideology and the principles of the Art Nouveau style than in the Documents D�coratifs, a stylebook published in Paris in 1902.

The Documents D�coratifs comprises 72 stunning plates that exemplify everything the movement is remembered for: decor, women, flowers, natural forms, structures, jewellery.

Alphonse Mucha heavily influenced the Art Nouveau movement; there is probably no better summation of Mucha’s ideology and the principles of the Art Nouveau style than in the Documents D�coratifs, a stylebook published in Paris in 1902.

The Documents D�coratifs comprises 72 stunning plates that exemplify everything the movement is remembered for: decor, women, flowers, natural forms, structures, jewellery.

The dedication on bottom right reads: A Madame Gerond Deschamps Souvenir de Noel 1903 Paris 23 Decembre Mucha.

Mucha designed the first postage stamp of Czechoslovakia (denomination 25 hal�ru) in December 1918. It depicts the Hradcany of Prague.

While working for Sarah Bernhardt, Mucha made posters for commercial firms, including those for Job (1898) and Moët et Chandon (1899). He also designed a large number of stamps, vignettes, calendars, illustrations, and ‘decorative panels’, a lithographic type developed for Mucha (e.g. Morning Awakening, 1899).

While working for Sarah Bernhardt, Mucha made posters for commercial firms including Job and Moët et Chandon; he also designed many stamps, vignettes, calendars, illustrations, and ‘decorative panels’, a lithographic type developed for Mucha.

Mucha developed into one of the most creative artists of Art Nouveau. His work combines Byzantine traditions and elements of contemporary style with the application of delicate, soft colours to create a new synthesis of unique individuality. Young women with pensive gazes wearing flowing robes are his “trademark”.

This poster was made for advertising JOB cigarette papers. It was published in Paris by Imp. F. Champenois in 1898.

In this poster, Sarah Bernhardt as La Tosca in Victorien Sardou’s (1831-1908) play stands holding a cane in her right hand and a bunch of flowers in her left. Another woman stands behind. Decoration in Art Nouveau style luxuriates around the figures.

Sardou’s play was the source of the libretto of Giacomo Puccini’s opera La Tosca.

Suggested listening (streaming mp3, 6 minutes):

Giacomo Puccini: Tosca, “Vissi d’Arte”, soprano aria, Act 2

In the 1890s in Paris, at the time of his greatest fame, Alphonse Mucha produced dozens of posters and other graphic design works. In this drawing, a study for a poster, Mucha addressed the question of the geometric stylization of a seated female figure featured within a circle – to which corresponds the semi-circular shape of the armchair with round metal fittings. In his large poster of 1898 advertising Job cigarette papers, he adopted a similar approach to stylizing the figure. Contrary to the poster, in the lower part of the figure in the illustration, the emphasis on linear construction is confronted with anatomical accuracy; this is perhaps why the drawing was ultimately not transposed into poster form. Nevertheless, the image remains a noteworthy testimony to the artist’s working process used to produce his Parisian posters.

Produced at the height of Mucha’s fame in 1898, the Art Series was printed on vellum in an edition of 1000 copies, with an additional 50 limited edition copies printed on satin. The series consists of four lithographs representing allegories of Dance, Poetry, Painting and Music.

Mucha discarded traditional attributes such as musical instruments, paintbrushes and quills. Instead, he emphasised the creative inspiration of natural beauty by giving each of the arts a circular backdrop featuring a motif from nature indicating a particular time of day: for Dance falling leaves blown by a morning breeze; for Painting a red flower encircled by rainbows in fresh daylight; for Poetry the evening star shining in the sky at dusk; for Music the song of birds at moonrise.

Dance, the most sensual of the series, is the sole standing figure. Her sinuous figure and long auburn hair sway in the autumn breeze.

Produced at the height of Mucha’s fame in 1898, the Art Series was printed on vellum in an edition of 1000 copies, with an additional 50 limited edition copies printed on satin. The series consists of four lithographs representing allegories of Dance, Poetry, Painting and Music.

Mucha discarded traditional attributes such as musical instruments, paintbrushes and quills. Instead, he emphasised the creative inspiration of natural beauty by giving each of the arts a circular backdrop featuring a motif from nature indicating a particular time of day: for Dance falling leaves blown by a morning breeze; for Painting a red flower encircled by rainbows in fresh daylight; for Poetry the evening star shining in the sky at dusk; for Music the song of birds at moonrise.

A passionate musician himself, Mucha chose to personify Music as a woman with both hands raised to her ears listening to a chorus of nightingales, the most creative and spontaneous of songbirds.

Produced at the height of Mucha’s fame in 1898, the Art Series was printed on vellum in an edition of 1000 copies, with an additional 50 limited edition copies printed on satin. The series consists of four lithographs representing allegories of Dance, Poetry, Painting and Music.

Mucha discarded traditional attributes such as musical instruments, paintbrushes and quills. Instead, he emphasised the creative inspiration of natural beauty by giving each of the arts a circular backdrop featuring a motif from nature indicating a particular time of day: for Dance falling leaves blown by a morning breeze; for Painting a red flower encircled by rainbows in fresh daylight; for Poetry the evening star shining in the sky at dusk; for Music the song of birds at moonrise.

The picture shows the allegory of Painting: A woman contemplates the wonders of nature, a red flower that appears in full light behind rainbows.

Produced at the height of Mucha’s fame in 1898, the Art Series was printed on vellum in an edition of 1000 copies, with an additional 50 limited edition copies printed on satin. The series consists of four lithographs representing allegories of Dance, Poetry, Painting and Music.

Mucha discarded traditional attributes such as musical instruments, paintbrushes and quills. Instead, he emphasised the creative inspiration of natural beauty by giving each of the arts a circular backdrop featuring a motif from nature indicating a particular time of day: for Dance falling leaves blown by a morning breeze; for Painting a red flower encircled by rainbows in fresh daylight; for Poetry the evening star shining in the sky at dusk; for Music the song of birds at moonrise.

Poetry is personified by a female figure gazing at the moonlit countryside in contemplation. She is framed by a laurel branch, the attribute of divination and poetry.

This bust shows all the features of the artist’s style and the representation of the indeterminately enigmatic character of the Belle �poque feminine type, which at this time ruled all Paris, became an ideal outside France as well.

The sculpture was executed by the founder �mile Pinedo (1840-1916).

In 1910 Mucha returned to Bohemia. He started working on the Slav Epic, a series of 20 paintings. He saw himself as inheriting the decorative traditions of his native country and was convinced of the need to use his art to express his devoted attachment to ideals and traditions.

The cycle depicts the mythology and history of Czechs and other Slavic peoples. In 1928, after finishing his monumental work, Mucha bestowed the cycle upon the city of Prague on the condition that the city builds a special pavilion for it. Before 2012, the series was a part of the permanent exhibition at the castle in the town of Moravsky Krumlov in the South Moravian Region of the Czech Republic. In 2012, all 20 works were moved and displayed together in an exhibition organized by the National Gallery in Prague. The works are currently not on display, waiting for a new location to be completed in Prague.

The picture shows canvas No. 17 from the series of 20. It depicts The Holy Mount Athos: Sheltering the Oldest Orthodox Literary Treasures.

In 1910 Mucha returned to Bohemia. He started working on the Slav Epic, a series of 20 paintings. He saw himself as inheriting the decorative traditions of his native country and was convinced of the need to use his art to express his devoted attachment to ideals and traditions.

The cycle depicts the mythology and history of Czechs and other Slavic peoples. In 1928, after finishing his monumental work, Mucha bestowed the cycle upon the city of Prague on the condition that the city builds a special pavilion for it. Before 2012, the series was a part of the permanent exhibition at the castle in the town of Moravsky Krumlov in the South Moravian Region of the Czech Republic. In 2012, all 20 works were moved and displayed together in an exhibition organized by the National Gallery in Prague. The works are currently not on display, waiting for a new location to be completed in Prague.

The picture shows canvas No. 5 from the series of 20. It depicts The Bohemian King Premysl Otakar II: The Union of Slavic Dynasties.

In 1910 Mucha returned to Bohemia. He started working on the Slav Epic, a series of 20 paintings. He saw himself as inheriting the decorative traditions of his native country and was convinced of the need to use his art to express his devoted attachment to ideals and traditions.

The cycle depicts the mythology and history of Czechs and other Slavic peoples. In 1928, after finishing his monumental work, Mucha bestowed the cycle upon the city of Prague on the condition that the city builds a special pavilion for it. Before 2012, the series was a part of the permanent exhibition at the castle in the town of Moravsky Krumlov in the South Moravian Region of the Czech Republic. In 2012, all 20 works were moved and displayed together in an exhibition organized by the National Gallery in Prague. The works are currently not on display, waiting for a new location to be completed in Prague.

The picture shows canvas No. 6 from the series of 20. It depicts The Coronation of the Serbian Tsar Stefan Dusan as East Roman Emperor: The Slavic Code of Law.

Mucha designed many stamps, vignettes, calendars, illustrations, and ‘decorative panels’, a lithographic type developed for Mucha (e.g. the series of the Times of the Day).

The series of the Times of the Day comprises four lithographs: (i) Morning Awakening, (ii) Brightness of Day, (iii) Evening Contemplation, (iv) Night’s Rest.

Mucha designed many stamps, vignettes, calendars, illustrations, and ‘decorative panels’, a lithographic type developed for Mucha (e.g. the series of the Times of the Day).

The series comprises four lithographs: (i) Morning Awakening, (ii) Brightness of Day, (iii) Evening Contemplation, (iv) Night’s Rest.

Mucha designed many stamps, vignettes, calendars, illustrations, and ‘decorative panels’, a lithographic type developed for Mucha (e.g. the series of the Times of the Day).

The series comprises four lithographs: (i) Morning Awakening, (ii) Brightness of Day, (iii) Evening Contemplation, (iv) Night’s Rest.

Mucha designed many stamps, vignettes, calendars, illustrations, and ‘decorative panels’, a lithographic type developed for Mucha (e.g. the series of the Times of the Day).

The series comprises four lithographs: (i) Morning Awakening, (ii) Brightness of Day, (iii) Evening Contemplation, (iv) Night’s Rest.

Mucha designed many stamps, vignettes, calendars, illustrations, and ‘decorative panels’, a lithographic type developed for Mucha (e.g. the series of the Times of the Day).

The series comprises four lithographs: (i) Morning Awakening, (ii) Brightness of Day, (iii) Evening Contemplation, (iv) Night’s Rest.