1.
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http://www.authorstream.com/Presentation/sandamichaela-2196876-mucha10/

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.
The 1900 World Fair in Paris served as a
springboard for the Slavic artist, who was entrusted
by the Austro-Hungarian authorities to design the
Bosnia-Hercegovina pavilion.
Although it enjoys great popularity today, at the
time when he died, Mucha's style was considered
outdated. His son, author Ji í Mucha, devoted muchř
of his life to writing about him and bringing
attention to his artwork. 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.
Galeria Bratislava
Praga 1930

3.
The Austrian, Bosnian and Hungarian pavilions next to
each other at the 1900 Exposition Universelle, Paris.
Photo from Lartnouveau.com

4.
The Bosnian and Hungarian
pavilions at the 1900 Exposition
Universelle, Paris.
The Bosnian pavilion was awarded
the silver medal at the World Fair
and won Mucha the French title of
Chevalier de la Legion d'Honneur.

5.
Insidethepavilion
OfficialBanquetoftheParisExhibition1900:designfor
themenufeaturingafashionablewomanwearinga
Mucha-stylejewellery

6.
1900 Bosnian pavilion Menu for the
Restaurant at the Paris Exhibition
Inside the pavilion

7.
1900Bosnianpavilion-designforthemenu
Bosnia & Herzegovina Pavilion at the Paris Exhibition 1900-
interior view with Mucha's wall paintings

8.
The Allegory of Bosnia Herzegovina (“'Bosnia Offers Her Products to the World”)
Museum of Decorative Arts, Prague
Among Mucha’s works for the 1900 exposition, his murals produced for the Pavilion of Bosnia-
Herzegovina, recently annexed to Austro-Hungary, have a particular significance. One of three
pavilions exhibited by the Austro-Hungarian empire, the decoration of the Bosnia-Herzegovina
pavilion was a highly prestigious commission; following the exposition Mucha was awarded the Order
of Franz Josef I for his contribution towards the empire.

9.
Fragment from the lower frieze (Bosnia- Herzegovina Pavilion - Paris, 1900)
Musée d'Orsay, Paris
Fragment from upper frieze - 140 x 650 cm, Musée d'Orsay, Paris

10.
Fragment from the lower frieze, Musée d'Orsay, Paris

11.
Fragments
from the
upper
frieze,
Musée
d'Orsay,
Paris

12.
View of the
Bosnia-
Herzegovina
Pavilion in the
Mucha
exhibition at
the Belvedere,
Vienna 2009

13.
The Prehistoric Eras. (Chronologically Stone, Bronze
and Iron)
Tempera on Canvas
353.5 x 687.5 cm

14.
The Prehistoric Eras. (Chronologically Stone, Bronze and Iron)

15.
Cycle: Arrival of the Slavs, The Roman Era,
In front of an Ionic temple.
Tempera on Canvas 349.5 x 730.5 cm

16.
Cycle: The Apostles
Tempera on Canvas
356x 377.5 cm
However, the commission
reminded Mucha of the political
position that his homeland and
all other Slavonic nations were
forced to be in at the time: after
many centuries of struggle
against foreign oppression
political freedom was still out of
their reach and in the Paris
exposition the Czechs and other
Slavs were represented under the
Austrian administration.

17.
Cycle: Before the Tribunal:
The oath of the sword, an
old man passes judgment.
Tempera on Canvas
345x 400 cm
As he wrote later, Mucha
felt frustrated by his
own artistic standing in
Paris: while his posters
and decorative panels
were adorning the
salons of the highest
society, ‘my homeland
was left to quench its
thirst on ditch water.’

18.
Cycle: The coronation of the king of
Bosnia, The Revenge of the Bogomils:
The heretics of the 12th century
Tempera on Canvas 355x 713 cm

19.
Cycle: The coronation of the king
of Bosnia, The Revenge of the
Bogomils: The heretics of the
12th century
Tempera on Canvas 355x 713 cm
Detail

20.
Cycle: The Catholic Faith, the Orthodox
Faith and Islam, represented in three
groups: A catholic confirmation, the
Orthodox blessing water, and the
architects of the mosques.
Tempera on Canvas
356x 705 cm
Detail

21.
Cycle: The Religions (detail) the
architects of the mosques.
Mucha resolved this problematic assignment by transforming the
pavilion into a celebration of the history and the cultural diversity
of Bosnia and Herzegovina. However, the theme that he truly
wished to represent in the murals – the sufferings of the oppressed
Slavs – would have to wait to be fully developed in his masterpiece,
the Slav Epic (1911-1926).
During this period, as if reflecting his internal conflicts, Mucha
produced numerous charcoal and pastel drawings, which were
dark, sometimes mysterious, and highly expressive with strong and
quick strokes – a completely different style from the one familiar in
his Parisian posters.

22.
Photo 1900
(687,5cm long)

23.
Bosnia & Herzegovina Pavilion – illustration featured in
'Le Figaro Illustré' (1 March 1900)

24.
After the artist left the decorative arts scene in Paris
in 1910, his style developed a patriotic character,
emphasizing uniquely Czech roots and identity.
Mucha, stating that “a taste for symbols is part of the
inheritance of all Slavs … that is why the language
of symbols is the surest way to communicate our
feelings to our brother Slavs,” utilized the skills he
had honed in his Parisian works to produce a
sophisticated program of propaganda in support of
Pan-Slavic ideals.
Mucha was chosen as one of the main designers for
the currency once Czechoslovakia was formed in
1918. For Mucha to be chosen as the artist of the new
currency of Czechoslovakia was a great honor,
establishing him as the representative artist of the
nation. It is interesting to note the changes that
occur in Mucha’s style as he moves away from his
Parisian decorative works to his patriotic posters.
The sweet pastels are replaced with bold colors and
an emphasis of the Pan-Slavic colors of red, white,
and blue.
Múza (Sibyla), 1920

25.
Posterforthetenthanniversaryofthe
CzechoslovakRepublic,1928

26.
The Song (1934-5)

27.
Interest in Mucha's distinctive
style experienced a strong
revival during the 1960s (with
a general interest in Art
Nouveau)

28.
Madrid 2009
Bratislava 2014
Mucha Exhibition

29.
Bratislava Exhibition 2014
Aurore et Crépuscule - (Down &
Dusk)

30.
Bratislava Exhibition
2014
Aurore et Crépuscule -
(Down & Dusk)

31.
Bratislava Exhibition 2014
Nero Watching The Burning of Rome — 1887

32.
Bratislava Exhibition 2014
Zéphyr and Chloris, 1881 1899, Brass relief

33.
Bratislava
Exhibition
2014
Samaritanka

34.
2013
Museum
Bellerive -
Zürich

35.
2014 Bröhan Museum in Berlin

36.
Seoul Arts Center 2013

37.
Hangaram Art
Museum, Seoul
Arts Center

38.
Sound: Antonín Dvo ák: Violin Concerto in A minor Op.53 (B108) I. .Allegro ma non troppo Chung Kyung-Wha, Violin)ř
Text and pictures: Internet
Copyright: All the images belong to their authors
Presentation: Sanda Foi oreanuş
www.slideshare.net/michaelasanda