Britannica Concise Encyclopedia:
Alphonse Mucha |
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Alphonse Mucha |
Art Encyclopedia:
Alphonse Mucha |
(b Ivancice, Moravia, 24 July 1860; d Prague, 14 July 1939). Czech graphic artist and painter, active in France. In 1877 he attempted unsuccessfully to enter the Academy of Fine Arts, Prague, and afterwards set about travelling and working. He went first to Vienna, where he worked for a company that produced stage sets, and where he discovered the work of Hans Makart. After being made redundant he left in 1882 for Mikulov, where he earned a living painting portraits of important local figures. He met Count Khuen-Belassi, who invited him to paint murals at his home (1882-4; some panels in Brno, Mus. City), later sending him to the Akademie der Bildenden K?nste in Munich (1885-7) and to Paris in autumn 1888. Mucha enrolled at the Acad?mie Julian and worked in the studios of Jules Lefebvre and Jean-Paul Laurens. When his grant was cut off at the end of 1889, he stayed in Paris and briefly attended the Acad?mie Colarossi; to finance himself he produced a variety of illustrations, collaborating on La Vie populaire and the children's review Le Petit Fran?ais illustr?.
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Modern Design Dictionary:
Alphonse Mucha |
Czechoslovakian born graphic designer and illustrator Mucha is widely known for his Art Nouveau posters in the 1890s and early 1900s, particularly those portraying the actress Sarah Bernhardt. Major clients also included Job cigarette papers (1898) and the champagne house of Moët & Chandon (1899). Flowing lines and two-dimensional organic forms characterized much of his work, the term ‘le style Mucha’ becoming almost synonymous with Art Nouveau. He worked across the full range of graphic media, including illustration, packaging, and postage stamp design, as well as involvement in the fields of jewellery and textile design. After commencing his career in theatre set painting he studied in Munich (1884-7) and in Paris from 1888, where he experienced the striking poster designs of Eugène Grasset and Jules Chéret, including the latter's renderings of Sarah Bernhardt in La Bihe en bois and Loie Fuller dancing at the Folies Bergère. Mucha's own first poster of Bernhardt was produced in 1894 when she was appearing in Gismonda, leading to a six-year contract with the actress. Mucha's reputation, widely disseminated through reproduction in the periodicals press, was further enhanced by a travelling exhibition of his posters, originating in Paris in 1897 before travelling to Prague, Brussels, Munich, London, and New York. In 1897 he opened his own design school in which he taught until 1904 during which time he was commissioned to design the Bosnia-Herzegovina Pavilion at the 1900 Paris Exposition Universelle where he also exhibited scent bottles, jewellery, and carpet design. The jewellery was commissioned by Georges Fouquet, whose shop in the Rue Royale in Paris Mucha designed as a total unified entity, including furniture, lighting, and stained glass. After a period in which he travelled in Europe and the United States Mucha returned to Czechoslovakia in 1910 and worked on a series of murals depicting Slav history. He also designed postage stamps celebrating Czechoslovakia's freedom in 1918.
Photography Encyclopedia:
Alphonse Mucha |
Mucha, Alphonse (1860-1939), Czech painter and graphic artist who also practised photography for nearly 50 years, from the 1880s to the 1930s. But it was only c. 1892, in Paris, that he began using it in an organized way, often to make studies for his paintings and illustrations. Much of his output consists of indoor photographs of models, either nude or, in photographic tableaux, in period costumes connected with an ongoing work. However, his photographic archive, still in private hands, reveals a much wider range of subjects.
— Quentin Bajac
Bibliography
Columbia Encyclopedia:
Alphonse Mucha |
Bibliography
See biography by his son, J. Mucha (1966); his posters and photographs, ed. by J. Mucha et al. (1972); his graphic work, ed. by J. Mucha (1974).
Wikipedia:
Alphonse Mucha |
| Alphonse Mucha | |
|---|---|
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| Alphonse Mucha | |
| Birth name | Alfons Maria Mucha |
| Born | 24 July 1860 Ivančice, Moravia, Austrian Empire (today's Czech Republic) |
| Died | 14 July 1939 (aged 78) Prague, Protectorate of Bohemia and Moravia |
| Nationality | Czechoslovakia |
| Field | Painting, Illustration, Decorative art |
| Training | Munich Academy of Fine Arts Académie Julian Académie Colarossi |
| Movement | Art Nouveau |
| Works | The Slav Epic (Slovanská epopej) |
| Patrons | Count Karl Khuen of Mikulov |
| Influenced by | Neoclassicism |
| Influenced | Paul Harvey Kevin Wasden |
Alphonse Maria Mucha,[1] first name from the Czech Alfons[2] (24 July 1860 – 14 July 1939) was a
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Alphonse Maria Mucha was born in the town of Ivančice, Moravia (today's region of Czech Republic). His singing abilities allowed him to continue his education through high school in the Moravian capital of Brünn (today Brno), even though drawing had been his first love since childhood. He worked at decorative painting jobs in Moravia, mostly painting theatrical scenery, then in 1879 moved to Vienna to work for a leading Viennese theatrical design company, while informally furthering his artistic education. When a fire destroyed his employer's business in 1881 he returned to Moravia, doing freelance decorative and portrait painting. Count Karl Khuen of Mikulov hired Mucha to decorate Hrušovany Emmahof Castle with murals, and was impressed enough that he agreed to sponsor Mucha's formal training at the Munich Academy of Fine Arts.
Mucha moved to Paris in 1887, and continued his studies at Académie Julian and Académie Colarossi while also producing magazine and advertising illustrations. Around Christmas 1894, Mucha happened to drop into a print shop where there was a sudden and unexpected demand for a new poster to advertise a play starring Sarah Bernhardt, the most famous actress in Paris, at the Théâtre de la Renaissance on the Boulevard Saint-Martin. Mucha volunteered to produce a lithographed poster within two weeks, and on 1 January 1895, the advertisement for the play Gismonda by Victorien Sardou appeared on the streets of the city. It was an overnight sensation and announced the new artistic style and its creator to the citizens of Paris.[4] Bernhardt was so satisfied with the success of that first poster that she entered into a 6 years contract with Mucha.
Mucha produced a flurry of paintings, posters, advertisements, and book illustrations, as well as designs for jewellery, carpets, wallpaper, and theatre sets in what was initially called the Mucha Style but became known as Art Nouveau (French for 'new art'). Mucha's works frequently featured beautiful healthy young women in flowing vaguely Neoclassical looking robes, often surrounded by lush flowers which sometimes formed haloes behind the women's heads. In contrast with contemporary poster makers he used paler pastel colors.[5] The 1900 Universal Exhibition in Paris spread the "Mucha style" internationally, of which Mucha said "I think [the Exposition Universelle] made some contribution toward bringing aesthetic values into arts and crafts."[6] He decorated the Bosnia and Herzegovina Pavilion and collaborated in the Austrian Pavilion. His Art Nouveau style was often imitated. However, this was a style that Mucha attempted to distance himself from throughout his life; he insisted always that, rather than adhering to any fashionable stylistic form, his paintings came purely from within and Czech art.[4] He declared that art existed only to communicate a spiritual message, and nothing more; hence his frustration at the fame he gained through commercial art, when he wanted always to concentrate on more lofty projects that would ennoble art and his birthplace.
Mucha married Maruška (Marie/Maria) Chytilová on June 10, 1906, in Prague. The 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, Jiri, (born March 12, 1915 in Prague; died April 5, 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 "sold out".[4] He was supported by millionaire Charles R. Crane, who applied his fortune to promote revolutions, and after meeting Thomas Masaryk, Slavic nationalism. The family then returned to the Czech lands and settled in Prague, where he decorated the Theater of Fine Arts, contributed the murals in the Mayor's Office at the Municipal House, and other landmarks of the city. When Czechoslovakia won its independence after World War I, Mucha designed the new postage stamps, banknotes, and other government documents for the new state.
Mucha considered Le Pater his printed masterpiece, and referred to it in the January 5, 1900 issue of The Sun Newspaper (New York) as the thing he had "put [his] soul into". Printed on December 20, 1899, Le Pater was Mucha's occult examination of the themes of The Lord's Prayer and only 510 copies were produced.
He spent many years working on what he considered his fine art masterpiece, The Slav Epic (Slovanská epopej), a series of twenty huge paintings depicting the history of the Czech and the Slavic peoples in general, bestowed to the city of Prague in 1928. He had dreamt of completing a series such as this, a celebration of Slavic history, since he was young. Since 1963 the series has been on display in the chateau in Moravský Krumlov the South Moravian Region in the Czech Republic.
The rising tide of fascism in the late 1930s led to Mucha's works, as well as his Slavic nationalism, being denounced in the press as 'reactionary'. When German troops marched into Czechoslovakia in the spring of 1939, Mucha was among the first people to be arrested by the Gestapo. During the course of the interrogation the aging artist fell ill with pneumonia. Though eventually released, he never recovered from the strain of this event, or seeing his home invaded and overcome. He died in Prague on July 14, 1939 of a lung infection, and was interred there in the Vyšehrad cemetery.[3]
By the time of his death, Mucha's style was considered outdated. However, his son, author Jiří Mucha, devoted much of his life to writing about him and bringing attention to his art. Interest in Mucha's distinctive style experienced a strong revival in the 1960s (with a general interest in Art Nouveau)[7] and is particularly evident in the psychedelic posters of Hapshash and the Coloured Coat, the collective name for two British artists, Michael English and Nigel Waymouth, who designed posters for groups such as Pink Floyd and The Incredible String Band.
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 only recently has a Mucha museum appeared in Prague, run by his grandson, John Mucha.[4]
It has continued to experience periodic revivals of interest for illustrators and artists. It is a strong acknowledged influence for Stuckist painter Paul Harvey whose subjects have included Madonna and whose work was used to promote The Stuckists Punk Victorian show at the Walker Art Gallery during the 2004 Liverpool Biennial.[8] the Japanese manga artist Naoko Takeuchi released a series of official posters depicting five of the main characters from her manga series Sailor Moon mimicking Mucha's style. Another manga artist, the 1962 born Masakazu Katsura has also mimicked Mucha's style several times. Comic book artist and current Marvel Comics Editor in Chief Joe Quesada also borrowed heavily from Mucha's techniques for a series of covers, posters, and prints. Grindcore and sludge metal band Soilent Green used a picture by Mucha for the cover of their album Sewn Mouth Secrets.[9]
One of Mucha's paintings, Quo Vadis or alternately Petronius and Eunice, was the subject of a legal dispute in 1986. The judgment handed down by Richard Posner describes parts of Mucha's life and work biographically.[10]
Among his many other accomplishments, Mucha was also the restorer of Czech Freemasonry.[11]
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| Modern Design Dictionary. A Dictionary of Modern Design. Copyright © 2004, 2005 by Oxford University Press. All rights reserved. Read more |
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| Photography Encyclopedia. The Oxford Companion to the Photograph. Copyright © 2005 by Oxford University Press. All rights reserved. Read more |
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| Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/. Read more |
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