Alphonse Mucha7
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Born in Moravia in 1860, Alphonse Mucha moved to Paris in his 20s and went on to become one of the greatest exponents of the art nouveau style. Mucha was one of the most fascinating artistic personalities of the turn of the 20th century. He was not only a painter and graphic artist, but also took an interest in sculpture, jewelry, interior decorating, and utilitarian art.
Alfons Mucha died in Prague shortly before the invasion of Czechoslovakia by German troops on July 14, 1939. It was Mucha’s belief that through the creation of beautiful works of art the quality of life would be improved. He also believed that it was his duty as an artist to promote art for ordinary people. He was able to fulfill both of these objectives by means of his innovative concept of the mass-produced decorative panel.

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  • 1902 Quo Vadis 213.4 x 213.4 cm (self-portrait) detail <br />
  • Self-portrait in a Russian shirt &apos;rubashka&apos;, in the studio, Rue de la Grande Chaumière, Paris (Early 1890s) <br /> Alfons Mucha was born in Southern Moravia on July 24, 1860. At the age of seventeen the artist left his home, to work as a painter of stage decorations at the Vienna &quot;Ringtheater&quot;. When there was a fire at the theater, Mucha lost his job. He found new employment at the Vienese castle with Count Khuen, who became his patron and sent him to the Munich art academy a few years later. From there, Alfons Mucha went on to Paris in 1887 to continue his studies at the &quot;Académie Julian&quot; and then at the &quot;Académie Colarossi&quot;. <br /> Due to a lack of financial support from Khuen, however, the student was forced to leave the academy and earn a living as an illustrator. During this time he produced a large number of sketches and drawings. These were studies for illustrations, which were later published in &quot;Figaro illustré&quot;, &quot;Petit Parisien illustré&quot; and other journals. This early work and the prints for illustrated books like &quot;L´éléfant blanc&quot; by Judith Gauthier, at which Alfons Mucha worked during this time, still reflect the usual academic historic style of the time. By coincidence, thanks to an employer of Lemercier printers, Mucha was commissioned to design a poster for Sarah Bernhardt in 1894. This provided the launch pad for Mucha&apos;s future success and importance as an influential designer of French &quot;Art Nouveau&quot;. <br />
  • En 1902, Mucha fut commandité pour la décoration de la cathédrale dédiée à la Vierge Marie à Jerusalem. Le projet initialement baptisé Virgo purissima, qui consistait en la réalisation de vitraux, avorta. Il reste aujourd&apos;hui de ce projet 2 œuvres largement remaniées : La Madonne aux Lys et Harmony. Cette dernière devait décorer le German Theatre mais ne fut pas retenue. <br />
  • As a young man, Mucha was strongly influenced by Pan-Slavism and regarded Tsarist Russia as an epitom of Slavic values. <br />
  • When Mucha designed the Czechoslovak bills, he used a previous portrait of Josephine Crane Bradley as Slavia for the 100 koruna bill. <br />
  • Mucha couple visited the U.S. from 1906 to 1910, during which time their daughter, Jaroslava, was born in New York City. They also had a son, Jiří, (born 12 March 1915 in Prague; died 5 April 1991 in Prague) who later became a well known journalist, writer, screenwriter, author of autobiographical novels and studies of the works of his father. In the U.S. Alphonse expected to earn money to fund his nationalistic projects to demonstrate to Czechs that he had not &quot;sold out&quot;. He was supported by millionaire Charles R. Crane, who used his fortune to help promote revolutions and, after meeting Thomas Masaryk, Slavic nationalism. Alphonse and his family returned to the Czech lands and settled in Prague, where he decorated the Theater of Fine Arts, contributed his time and talent to create the murals in the Mayor&apos;s Office at the Municipal House, and other landmarks around the city. When Mucha designed the Czechoslovak bills, he used a previous portrait of Josephine Crane Bradley as Slavia for the 100 koruna bill. <br />
  • 1919 Jaroslava and Jiri, the Artist&apos;s Children oil on canvas 82.8 x 82.8 cm <br /> Antonín Dvořák: Violin Concerto in A minor Op.53 (B108)- I. Allegro ma non troppo- II. Adagio ma non troppo- III. Finale. Allegro giocoso ma non troppoChung Kyung-Wha, ViolinRundfunk-Sinfonieorchester BerlinRiccardo Chailly, ConductorRecorded at Liederhalle, Stuttgart <br />

Alphonse Mucha7 Presentation Transcript

  • 1. 7 http://www.authorstream.com/Presentation/sandamichaela-2194652-mucha7/
  • 2. Alphonse Mucha (1860-1939), whose work is indissolubly linked with the Art Nouveau style, was one of the most fascinating artistic personalities of the turn of the 20th century. He was not only a painter and graphic artist, but also took an interest in sculpture, jewelry, interior decorating, and utilitarian art. Although it enjoys great popularity today, at the time when he died, Mucha's style was considered outdated. His son, author Ji í Mucha, devotedř much of his life to writing about him and bringing attention to his art work. In his own country, the new authorities were not interested in Mucha. His Slav Epic was rolled and stored for twenty-five years before being shown in Moravsky Krumlov, and a Mucha museum opened in Prague, managed by his grandson John Mucha. Mucha's work has continued to experience periodic revivals of interest for illustrators and artists. Interest in Mucha's distinctive style experienced a strong revival during the 1960s (with a general interest in Art Nouveau)
  • 3. Documents decoratifs 1901
  • 4. Documents decoratifs 1901
  • 5. Poster to promote the works of Mucha at 'La Plume, Paris‘ study 1898 Study for Figures Decoratives 1905
  • 6. 1903 Aristide Berges̀ pastel 1904 Cardinal Farley oil on canvas 220 x 135 cm
  • 7. 1903c Decorative panels for the Bergè house oil on canvas Mucha produced a flurry of paintings, posters, advertisements, and book illustrations, as well as designs for jewelry, carpets, wallpaper, and theatre sets in what was termed initially The Mucha Style but became known as Art Nouveau (French for "new art").
  • 8. 1903c Decorative panels for the Berge housè oil on canvas
  • 9. 1903 Nude Oil on canvas 60 x 40 cm
  • 10. 1908 Harmony oil on canvas 136 x 438 cm
  • 11. Harmony design for stained glass window
  • 12. 1902 Quo Vadis (Petronius et Eunice) 213.4 x 213.4 cm (self-portrait)
  • 13. France Embraces Bohemia 1918 1920CroatianWomanwithApples oiloncanvas76.4x67cm
  • 14. Solitudeoiloncanvas61.5x35cmPrivatecollection In 1936 Mucha embarked on yet another mammoth project involving a triptych, 'The Age of Wisdom', 'The Age of Love' and 'The Age of Reason'. They were never completely finished: 'TheAgeofLove'
  • 15. 1912 Poster for '6th Sokol Festival' lithograph 168.5 x 82.5 cm
  • 16. 1925 Poster for the '8th Sokol Festival Prague' lithograph 123 x 82.7 cm
  • 17. ‘Song of Bohemia' (1918)
  • 18. 1917Libuše,PrincessofBohemia oiloncanvas230x110cm 1914'TheSpringFestivalofSong&MusicinPrague'
  • 19. 1900 Austrian Pavilion at 'L'Exposition Universelle de Paris'
  • 20. 1913 A Woman in a Folk Costume chalk 34 x 28 cm A study of a man sitting 1891 Dorotheum
  • 21. 1903TheGirlofIvancicepencil,charcoal,watercolour, gouache&goldpaintonboard43.5x20cm 1913'RegionalExhibitionatIvancice‘̌ lithograph93x59cm
  • 22. ExhibitionofArchitectureandEngineering,poster 1908'Fish'cromolithographoncanvas106.7x74.9cm
  • 23. 1912 Lottery of national unity lithograph 128 x 95 cm
  • 24. 1896 Prophetess 87x138cm MuchaMuseum
  • 25. It was Mucha’s belief that through the creation of beautiful works of art the quality of life would be improved. He also believed that it was his duty as an artist to promote art for ordinary people.
  • 26. 1916Heda MuchaMuseum
  • 27. SeatedWomanwithflowersembroideredcloth.1929
  • 28. PortraitofSarahBernhardt oiloncanvas146x80cm
  • 29. Peonies (Ink and watercolor) Scottish National Gallery
  • 30. Heraldic Chivalry 89 x 136 cm Private collection
  • 31. Easter Chimes Awaken Nature 1896 DesignfortheindoorstainedglasspanelsofGeorges Fouquet’sBijouterie,Paris,MuséeCarnavalet
  • 32. Woman in the Wilderness (1923) Also known as Star and Siberia, this painting could be seen to express Mucha's love for Russia and her people. Produced in 1923, this painting may have been Mucha's response to the terrible sufferings endured by the Russian people after the Bolshevik Revolution, which culminated in the Great Famine of 1921.
  • 33. Woman in the Wilderness (1923) In this painting, a Russian peasant woman, symbolizing the suffering of the nation, sits quietly with a gesture of acceptance of her inevitable fate. However, the star shining above her indicates hope and spiritual salvation.
  • 34. StudiesfortWomaninthe Wilderness
  • 35. When Czechoslovakia won its independence after World War I, Mucha designed the new postage stamps, banknotes, and other government documents for the new state.
  • 36. Poster for Slavia Mutual Insurance Bank, 1907 "Slavia" (personification of the Slavic people) Slavia Certificate
  • 37. PosterforthetenthanniversaryoftheCzechoslovak Republic,1928 Poster 1903, Agricultural, Industrial and Art fair in the northeast Bohemian town of Horcice, Prague
  • 38. Poster 1902, Fair in the town of Vyskove
  • 39. Painted in Chicago in 1909, depicts American actress Maude Adams in the role of Joan of Arc in Friedrich Schiller's “Maid of Orleans”. The portrait was made specifically for the first night (6/22/1909) performance and was displayed as a poster for the event. Mucha also designed the costumes and sets and supervised the direction. Mucha designed the ornate gilded frame. Maude Adams (1872–1953) as Joan of Arc Metropolitan Museum
  • 40. PortraitofJosephineCraneBradleyasSlavia(1908) NationalGalleryinPrague.
  • 41. Sound: Antonín Dvo ák: Violin Concerto in A minor Op.53 (B108)III. Finale. Allegro giocoso ma non troppoř (Chung Kyung-Wha, Violin) Text and pictures: Internet Copyright: All the images belong to their authors Presentation: Sanda Foi oreanuş www.slideshare.net/michaelasanda