Alphonse Mucha

Alphonse Mucha
Mucha circa 1906
Born Alfons Maria Mucha
(1860-07-24)24 July 1860
Ivančice, Margraviate of Moravia, Austrian Empire (present Czech Republic)
Died 14 July 1939(1939-07-14) (aged 78)
Prague, Protectorate of Bohemia and Moravia
Nationality Czech
Education Munich Academy of Fine Arts
Académie Julian
Académie Colarossi
Known for Painting, Illustration, Decorative art
Notable work The Slav Epic (Slovanská epopej)
Movement Art Nouveau
Patron(s) Count Karl Khuen of Mikulov

Alfons Maria Mucha[1][2] (Czech: [ˈalfons ˈmuxa] ( listen); 24 July 1860 – 14 July 1939), known as Alphonse Mucha, was a Czech painter, illustrator and graphic artist, living in Paris during the Art Nouveau period, best known for his distinctly stylized and decorative theatrical posters of Sarah Bernhardt.[3] He produced paintings, illustrations, advertisements, postcards, and designs which became among the best-known images of the period.[4]

In the second part of his career, at the age of 43, he returned to his homeland and devoted himself to painting a series of twenty monumental canvases known as The Slav Epic, depicting the history of all the Slavic peoples of the world. which he painted between 1912 and 1926. In 1928, on the 10th anniversary of the independence of Czecholovkia, he presented the series to the Czech nation. He considered it his most important work. It is now on display in the national museum of Prague. [5]

Early years in Moravia, Vienna and Munich

Portrait of Saints Cyril and Methodius for the Orthodox church in Pisek, North Dakota (1887)

Alphonse Maria Mucha was born on 24 July, 1860 in the small town of Ivančice in southern Moravia, then a province of the Austro-Hungarian Empire, (currently a region of the Czech Republic). His family had a very modest income; his father was a court usher, and his mother was a miller's daughter. [6]. He showed an early talent for drawing; a local merchant, impressed, by his work, provided him with paper for free, though it was considered a luxury. [6]In 1871, Mucha became a chorister at the Cathedral of St. Peter and Paul, Brno, where he received his secondary school education. [7] He became devoutly religious, and wrote later, "For me, the notions of painting, going to church, and and music are so closely knit that often I cannot decide whether I like church for its music, or music for its place in the mystery which it accompanies." He grew up in an environment of intense Czech nationalism in all the arts, from music to literature and painting. He designed flyers and posters for patriotic rallies. [8]

His singing abilities allowed him to continue his musical education at the Gymnázium Brno in the Moravian capital of Brno, but his true ambition was to become an artist. He found some employment designing theatrical scenery and other decoration. In 1878 He applied without success to the Academy of Fine Arts in Prague, but was rejected and advised "to find a different career." In 1880, at the age of 19, he traveled to Vienna, the political and cultural capital of the Empire, and found employment as an apprentice scenery painter for a company which made sets for Vienna theaters. While in Vienna, he discovered the museums, churches, palaces and especially theaters, for which he received free tickets from his employer.[8] He also discovered Hans Makart, a very prominent academic painter, who created murals for many of the palaces and government buildings in Vienna, and was a master of portraits and historical paintings in grand format. His style turned Mucha in that artistic direction and influenced his later work. [9] He also began experimenting with photography, which became an important tool in his later work. [10]

To his misfortune, a terrible fire in 1881 destroyed the Ringtheater, the major client of his firm. Later in 1881, almost without funds, he took a train as far north as his money would take him. He arrived in Mikulov in southern Moravia, and began making portraits, decorative art and lettering for tombstones.[11] His work was appreciated, and he was commissioned by Count Eduard Khuen Belasi, a local landlord and nobleman, to paint a series of murals for residence at Emmahof Castle, and then at his ancestral home in the Tyrol, Gandegg Caste. (The paintings at Emmahof were destroyed by fire in 1948, but his early versions in small format exist (now on display at the museum n Brno). He showed his skill at mythological themes, the female form, and lush vegetal decoration. Belasi, who was also an amateur painter, took Mucha on expeditions to see art in Venice, Florence and Milan, and introduced him to many artists, including the famous Bavarian romantic painter, Wilhelm Kray, who lived in Munich. Count Belasi decided to Mucha to Munich for formal training, and paid tuition and cost of living at the Munich Academy of Fine Arts. He moved there in September, 1885. [9]{{Sfn|Sato|2015|page=11}

It is not clear how Mucha actually studied at the Academy; there is no record of his actually being enrolled as a student there. However, he did become friends there with a number of notable Slavic artists, including the Czechs Karel Vítězslav Mašek, Ludek Marold and the Russian Leonid Pasternak, father of the famous novelist Boris Pasternak. [12] He founded a Czech students' club, and contributed political illustrations to nationalist publications in Prague. In 1886 He received a notable commission for a painting of Saints Cyril and Methodius, Czech patron saints, from a group of Czech emigrants, including some of his relatives, who had founded an Orthodox church in the town of Pisek, North Dakota. [13] He was very happy with the artistic environment of Munich: he wrote to friends, "Here I am in my new element, painting. I cross all sorts of currents, but without effort, and even with joy. Here, for the first time, I can find the objectives to reach which used to seem inaccessible." [14] However, he found he could not remain forever in Munich; the Bavarin authorities imposed increasing restrictions upon foreign students and residents. Count Belasi suggested that he travel either to Rome or Paris. With Belasi's financial support, he decided in 1887 to move to Paris.[14]

Studies and first success in Paris

Mucha moved to Paris in 1888, and in 1889 he enrolled in the Académie Julian[15] and the following year, 1889, Académie Colarossi. The two schools taught a wide variety of different styles. His first professors at the Academie Julien were Jules Lefebvre who specialized in female nudes and allegorical paintings, and Jean-Paul Laurens, whose specialties were historical and religious paintings in a realistic and dramatic style. [16] At the end of 1889, as he approached the age of thirty, his patron, Count Belasi, decided that Mucha had received enough education and ended his subsidies. [16]

When he arrived in Paris, Mucha found shelter with the help of the large Slavic community. He lived in a boarding house called the Crémerie at 13 rue de la Grand Chaumerie, whose owner, Charlotte Caron, was famous for sheltering struggling artists; when needed she accepted paintings or drawings in place of rent. Mucha decided the follow the path of another Czech painter he knew from Munich, Ludek Marold, who had made a successful career as an illustrator for magazines. In 1890 and 1891, he began providing illustrations for the weekly magazine La Vie popular, which published novels in weekly segments. His illustration for a novel by Guy de Maupassant, called The Useless Beauty, was on the cover of the edition of 22 May 1890. He also made illustrations for Le Petit Français Illustré, which published stories for young people in both magazine and book form. For this magazine he provided dramatic scenes of battles and other historic events, including a cover illustration of a scene from the Franco-Prussian War which was on the cover on 23 January 1892.[17]

His illustrations began to give him a regular income. He was able to buy a harmonium, to continue his musical interests, and his first camera, which used glass-plate negatives. He took pictures of himself and his friends, and also regularly used it to compose his drawings. [18]He became friends with Paul Gauguin, and shared a studio with him for a time when Gauguin returned from Tahiti in the summer of 1893 In late autumn 1894 He also became friends with playwright August Strindberg, with whom he had a common interest in philosophy and mysticism. [18]

His magazine illustrations led to book illustration; he was commissioned to provide illustrations for Scenes and Episodes of German History by historian Charles Seignobos.Four of his illustrations, including one depicting The death of Frederic Barbarossa, were chosen for display at the 1894 Paris Salon of Artists. He received a medal of honor, his first official recognition. [17]

Mucha added another important client in the early 1890s; the Central Library of Fine Arts, which specialized in the publication of books about art, architecture and the decorative arts. It later launched a new magazine in 1897 called Art et Decoration, which played an early and important role in publicizing the Art Nouveau style. He continued to publish illustrations for his other clients, including illustrating a children's book of poetry by Eugène Manuel, and illustrations for a magazine of the theater arts, called La Costume au théâtre.

Sarah Bernhardt and Gismonda

Poster of Sarah Bernhardt as Gismonda (1895)

At the end of 1894 his career took a dramatic and unexpected turn, when he began to work for Sarah Bernhardt. As Mucha later described it, on December 26 Bernhardt made a telephone call to Maurice de Brunhoff, the manager of the publishing firm Lemercier, which printed her theatrical posters, ordering a new poster for continuation of the play Gismonda. The play, by Victorien Sardou, had already opened with great success on October 31, 1894 at the Théâtre de la Renaissance on the Boulevard Saint-Martin. Bernardt decided to make a poster to advertise a prolongation of the theatrical run after the Christmas break. and insisting it ready be ready by January 1, 1897. Because of the holidays, none of the regular Lemercier artists were available. [17]

When Bernhardt called, Mucha happened to be at the publishing house correcting proofs. He already had experience painting Bernhardt. He had made a series of illustrations of her performing in Cleopatra for Costume au Théâtre in 1890. When Gismonda had opened in October 1894, Mucha had been commissioned by the magazine Le Gaulois to make a series of illustrations of Bernhardt in the role for a special Christmas supplement, which was published at Christmas 1894, for the high price of fifty centimes a copy. [19]

Brunhoff asked Mucha to quickly design the new poster for Bernhardt. The poster was more than life-size; a little more than two meters high, with Bernhardt in the costume of a Byzantine noblewoman, dressed in the orchid headdress and floral stole and holding a palm branch, in the Easter procession near the end of the play, One of the innovative features of the posters was the ornate rainbow-shaped arch behind the head, almost like a halo, which focused attention on her face; this feature appeared in all of his future theater posters. Probably because the shortage of time, some areas of the background were left blank, instead of his usual decoration. The only background decoration were the Byzantine mosaic tiles behind her head. The poster featured extremely fine draftsmanship and and delicate pastel colors, unlike the typical brightly-colored posters of the time. The top of the poster, with the title, was richly composed and ornamented, and balanced the bottom, where the essential information given in the shortest possible form; just the name of the theater. [20]

The poster appeared on the streets of Paris on January 1, 1895, and caused an immediate sensation. Bernhardt was pleased by the reaction; she ordered four thousand copies of the poster in 1895 and 1896, and gave Mucha a six-year contract to produce more. With his posters all over the city, Mucha found himself quite suddenly famous. [21] [22][23]

Following Gismonda, Bernardt switched to a different printer, F. Champenois, who, like Mucha, was put under contract to work for Bernhardt for six years. Champenois had a large printing house on Boulevard Saint Michel which employed three hundred workers, with twenty steam presses. He gave Mucha a generous monthly salary, in exchange for the rights to publish all his works. With his increased income, Mucha was able to move to a three-bedroom apartment with a large studio inside a large historic house at 6 rue du [[Val-de-Grâce originally built by François Mansart. [24] [25]

Mucha designed posters for each successive Bernhardt play, beginning with reprise of one of her early great successes, La Dame aux Camelias ((September 1896), followed by Lorenzaccio (1896); Medea (1898); La Tosca (1898) and Hamlet (1899). He sometimes worked from photographs of Bernhardt, as he did for La Tosca. In addition to posters, he designed theatrical programs, sets, costumes, and jewelry for Bernhardt. The enterprising Bernhardt set aside a certain number of printed posters of each play to sell to collectors.[26][27]

Commercial art and decorative panels

The success of the Bernhardt posters brought Mucha commissions for advertising posters. He designed posters for JOB cigarette papers, Ruinart Champagne, Lefèvre-Utile biscuits, Nestlé baby food, Idéal Chocolate, the Beers of the Meuse, Moët-Chandon champagne, Trappestine brandy, and Waverly and Perfect bicycles. [28]. With Champenois, he also created a new kind of product, a decorative panel, a poster without text, purely for decoration. They were published in large print runs for a modest price. The first series was The Seasons, published in 1896, depicting four different women in extremely decorative floral settings representing the seasons of the year. In 1897 He produced an individual decorative panel of a young woman in a floral setting, called Reverie, for Champenois. He also designed a calendar with a woman's head head surrounded by the signs of the zodiac, The rights were resold rightsLéon Deschamps, the editor of the arts review La Plume, who brought it out with great success in 1897. The Seasons series was followed The Flowers The Arts (1898), The Times of Day (1899), Precious Stones (1900), and The Moon and the Stars (1902). [29] Between 1896 and 1904 Mucha created over one hundred poster designs for Champenois. These were sold in various formats, ranging from expensive versions printed on vellum, Japanese paper or vellum, to less expensive versions which combined multiple images, to calendars and postcards. [30]

His posters focused almost entirely on beautiful women in lavish settings, with their hair usually curling in arabesque forms and filling the frame. His poster for the railway line between Paris and Monaco-Monte-Carlo (1897) did not show a train or any identifiable scene of Monaco or Monte-Carlo; it showed a beautiful young woman in a kind of reverie, surrounded by swirling floral images. [31] Between

Decorative panels

1900 Paris Universal Exposition

The Paris Universal Exposition of 1900, famous as the first grand showcase of the Art Nouveau, gave Mucha an opportunity to move in an entirely different direction, toward the large-scale historical paintings which he had admired in Vienna. He received a commission to create murals for the Pavilion of Bosnia and Herzegovina at the Exposition. This pavilion displayed examples of industry, agriculture and culture of these provinces which in 1878, by the Treaty of Berlin, had been taken away from Turkey and put under the tutorship of Austria. The temporary building built for the Exposition had three large halls with two levels, with a ceiling more than twelve meters high, and with natural light from skylights. His experience in theater decoration gave him the ability to paint large-scale paintings in a short period of time. [32]

The murals of Mucha illustrated the culture and history of the region. It was made in three large painted bands of murals, around the entire hall. The lowest band was a frieze of flowers. Above this was a band of scenes of Bosnian history, while the top band was devoted to scenes of Bosnian folklore. As he had done with his theater work, he often took photographs of posed models, and painted from them, simplifying the forms. While the work depicted dramatic events, the overall impression given by the work was one of serenity and harmony. [32] In addition to the murals, Mucha also designed a menu for the restaurant of the Bosnia Pavilion.[33]

During the course of the Exposition, Mucha proposed another remarkable project. The Government of France planned to take down the Eiffel Tower, built especially for the Exposition, as soon as the Exposition ended. Mucha proposed that the top of the tower be removed, but that the base be turned into an enormous pedestal for a work of modern sculpture which he designed. However, the tower proved to be popular with both tourists and Parisians, and it was decided to leave it standing after the Exposition ended.[32]

Jewelry and collaboration with Fouquet

Mucha's many interests included jewelry. His 1902 book, Documents Decoratifs, contained plates of elaborate designs for brooches and other pieces, with swirling arabesques and vegetal forms, with incrustations of enamel and colored stones. In 1899 He collaborated with the jeweler Georges Fouquet to make a bracelet for Sarah Bernhardt in the form of a serpent, made of gold and enamel, similar to the costume jewelry Bernhardt wore in Medea. . Mucha also had experience with designing displays; he had created an Art Nouveau stand at the 1900 Exposition for the perfume maker Houbigant, with panels of flowers in Art Nouveau forms. After the 1900 Exposition, Fouquet decided to open a new shop at 6 Rue Royale, across the street from the restaurant Maxim's. He asked Mucha to design the interior. [34]

The centerpieces of the design were two peacocks, the traditional symbol of luxury, made of bronze and wood with colored glass decoration. To the side was a fountain, with three gargoyles spouting water into basins, surrounding the statue of a nude woman. The salon was further decorated with carved moldings and stained glass, thin columents with vegetal designs, and a ceiling with molded floral and vegetal elements. It marked a summit of Art Nouveau decoration. [35]

The Salon opened in 1901, just as tastes were beginning to change, moving away from Art Nouveau to more naturalistic patterns. It was taken apart in 1923, and a replaced by a more traditional shop design. Fortunately most of the original decoration was preserved, and was donated in 1914 and 1949 to the Carnavalet Museum in Paris, where it can be seen today.[36]

Documents Decoratifs and teaching

Mucha's next project was a series of seventy-two printed plates of watercolors of designs, titled Documents Decoratifs, which were published in 1902 by the Librarie central des beaux-arts. They represented ways that floral, vegetal and natural forms could be used in decoration and decorative objects. In about 1900 He he had begun to teach at the Academy Colarossi, where he himself had been a student when he first arrived in Paris. His course was precisely described in the catalog: "The object of the Mucha course is to to permit the student to have the necessary knowledge for artistic decoration, applied to decorative panels, windows, porcelain, enamels, furniture, jewelry, posters, etc."[37]

Le Pater

Cover of Le Pater (1999)

Mucha made a considerable income from his theatrical and advertising work, but he wished even more to be recognized as a serious artist and philosopher. He was a devoted Catholic, but also was interested in mysticism. In January 1898 he joined the Paris masonic lodge of the Grand Orient de France. Shortly Before the 1900 Exposition, as wrote in his memoirs, "I had not found any real satisfaction in my old kind of work. I saw that my way was to be found elsewhere, little bit higher. I sought a way to spread the light which reached further into even the darkest corners. I didn't have to look for very long. The Pater Noster {Lord's Prayer): why not give the words a pictorial expression?" [38]. He approached his publisher, Henri Piazza, and proposed the book, in these words: "First a cover page with symbolist ornament; then the same ornament developed in a kind a variation on each line pf the prayer; a page explaining each line in a calligraphic form; and a page rendering the idea of each line in the form of an image." [38]

Le Pater was published on 20 December 1899, only 510 copies were printed. The original watercolor paintings of the page were displayed in the Austrian pavilion at the 1900 Exposition. He considered Le Pater to be his printed masterpiece, and referred to it in the New York Sun of 5 January 1900 as a work into which he had "put his soul." The critic Charles Masson, who reviewed it for Art et Decoration, wrote: "There is in that man a visionary; it is the work of an imagination not suspected by those who only know his talent for the agreeable and charming." [38]

American Travels and marriage

Self-portrait of Mucha at work (1907)

In 1904-1908 Mucha made a long trip to the United States, at the suggestion of Baroness Salomon de Rothchild. He gave lectures based on his Paris courses at the Art Institute of Chicago and other schools, painted portraits, and made theatrical designs for two Shakespeare plays at the German Theater of New York. [39]

From New York, he wrote to his family in Moravia: "You must have been very surprised by my decision to come to America, perhaps even amazed. But in fact I had been preparing to come here for some time. It had become clear to me that that I would never have time to do the things I wanted to do if I did not get away from the treadmill of Paris, I would be constantly bound to publishers and their whims...in America, I don't expect to find wealth, comfort, or fame for myself, only the opportunity to do some more useful work." [6] Artistically, the trip was not a success; portrait painting was not his strong point, and the German Theater closed in 1909, one year after it opened. He made posters for the American actress Leslie Carter, but they were simply remakes of what he done for Bernhardt. [39]

The one success of his trip was his meeting with the American entrepreneur Charles Richard Crane, who was a passionate supporter of Slavic studies. He commissioned Mucha to make a portrait of his daughter in a traditional Slavic style, More important, he shared Mucha's enthusiasm for a series of monumental paintings on Slavic history, and he became Mucha's most important patron. When Mucha designed the Czechoslovak bills, he used his portrait of Crane's daughter as the model for Slavia for the 100 koruna bill.[23] [40]

Mucha married Maruška (Marie/Maria) Chytilová on 10 June 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, Jiří, (born 12 March 1915 in Prague; died 5 April 1991 in Prague) who later became a journalist, writer, screenwriter, author of autobiographical novels and studies of the works of his father.

Move to Prague and the Slav Epic (1910-1928)

During his long stay in Paris, Mucha had never given up dream of being a history painter, and to illustrate accomplishments of the Slavic peoples of Europe. In 1910, he was offered a commission to paint murals on the interior of the new city hall of Prague. He made the decision to return to his old country, still then part of the Austrian Empire. His first project was the decoration of the reception room of the mayor of Prague. He designed and created a series of large-scale murals depicting the contributions of Slavs to European history over the centuries. In 1911, he wrote to his friend Charles Crane in the U.S., "I want that, in the place where these elevated works are placed, they will sound like the music of an organ right up to rafters." [41]

Sometime between 1910 and 1912 Mucha began work on what he considered his most important work; "The Slav Epic". a series of large painting illustrating the achievements of the Slavic peoples over history. The idea had come to him, he said later, in Chicago listening to the musical work My country by Smetana in a concert by the Boston Philharmonic Orchestra during his American journey.[41]

The series had ten paintings devoted to the history of the Czechs, and ten to other Slavic peoples. Mucha continued work on the twenty canvases throughout the First World War, when the Austrian Empire was at war with France, despite wartime restrictions, which made canvas hard to obtain. He continued his work after the war ended, when the new Republic of Czechoslovkia was created. It was completed in 1928 in time for the tenth anniversary of the proclamation of the Czech Republic. He made other notable contributions to the new country; in 1920, he designed the korun bank note, with the image of the daughter of his American friend. He also designed postage stamps for his new country. [42]

He donated his work to the city of Prague in 1928. From 1963 until 2012 the series was on display in the chateau in Moravský Krumlov in the South Moravian Region in the Czech Republic. Since 2012 the series has been on display at the National Gallery's Veletržní Palace in Prague.[43]

Last years and death

When Nazi Germany occupied Czechslovakia in the spring of 1939, Mucha’s Slav nationalism and Jewish roots made him a natural target. [44] Mucha was among the first persons to be arrested by the Gestapo. During his interrogation, the aging artist became ill with pneumonia. He was finally released, but he died in Prague on 14 July 1939, due to lung infection, and was interred there in the Vyšehrad cemetery.[3]

Legacy

Mucha was and remains best-known for his Art Nouveau work, which frustrated him. He took the greatest pride in his work as a history painter.

Although it enjoys great popularity today, at the time of his death Mucha's style was considered outdated. His son, author Jiří Mucha, devoted much 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. The Slav Epic was rolled and stored for twenty-five years before being shown in Moravský Krumlov. The National Gallery in Prague now displays the Slav Epic, and has the major collection of his work.

Interest in Mucha's distinctive style experienced a strong revival during the 1960s (with a general interest in Art Nouveau)[45] and is particularly evident in the psychedelic posters of Hapshash and the Coloured Coat, the collective name for British artists Michael English, Nigel Waymouth and Bob Masse.[46]

Mucha is also credited with restoring the movement of Czech Freemasonry.[47]

One of the largest collections of Mucha's works is in the possession of former world no. 1 professional tennis player Ivan Lendl, who started collecting his works upon meeting Jiří Mucha in 1982. His collection was exhibited publicly for the first time in 2013 in Prague.[48]

See also

Notes and references

  1. ↑ "Mucha, Alphonse", Grove Dictionary of Art Online. Retrieved 3 October 2009.(subscription required)
  2. ↑ "New Town", Frommers Eastern Europe, p. 244. Retrieved 8 October 2009.
  3. 1 2 "Mucha, Noted Artist, Dropped First Name; Death Due To Shock Caused By Germans' Seizure Of Prague". New York Times. 18 July 1939. Retrieved 20 April 2008. The artist Mucha—he always signed his work without his given name, which he preferred to ignore—died here ... (subscription required)
  4. ↑ Thiébaut 2018, pp. 64-77.
  5. ↑ Sato 2016, p. 7.
  6. 1 2 3 Sato 2015, p. 7.
  7. ↑ Patrick, Bade, Mucha, Parkstone Press, ISBN 978-1-78042-230-5
  8. 1 2 Sato 2015, p. 9.
  9. 1 2 Thiébaut 2018, p. 19.
  10. ↑ Sato 2015, p. 9-10.
  11. ↑ Sato 2015, p. 11.
  12. ↑ Sato 2015, p. 12-13.
  13. ↑ Thiébaut 2018, p. 20.
  14. 1 2 Thiébaut 2018, p. 22.
  15. ↑ (fr) Patrick Bade, Mucha
  16. 1 2 Thiébaut 2018, p. 23.
  17. 1 2 3 Thiébaut 2018, p. 24-25.
  18. 1 2 Sato 2015.
  19. ↑ Thiébaut 2018, p. 43.
  20. ↑ Sato 2015, p. 22.
  21. ↑ Thiébaut 2018, pp. 43-44.
  22. ↑ Sato 2015, pp. 21-22.
  23. 1 2 An Introduction to the Work of Alphonse Mucha and Art Nouveau, lecture by Ian Johnston of Malaspina University-College, Nanaimo, BC (March 2004). This document is in the public domain and may be used by anyone, in whole or in part, without permission and without charge, provided the source is acknowledged
  24. ↑ Sato 2015, p. 26.
  25. ↑ Thiébaut 2018, p. 70.
  26. ↑ Tierchant 2009, pp. 238–39.
  27. ↑ Tierchant 2009, pp. 239–40.
  28. ↑ Sato 2015, pp. 26-36.
  29. ↑ Thiébout 2018, pp. 74-77.
  30. ↑ Sato 2015, p. 43.
  31. ↑ Thiébout 2018, p. 1897.
  32. 1 2 3 Thiébout, p. 86-88.
  33. ↑ Sato 2015, p. 58.
  34. ↑ Thiiébaut 2018, pp. 133-42.
  35. ↑ Thiiébaut 2018, pp. 133-34.
  36. ↑ Thiiébaut 2018, pp. 134-138.
  37. ↑ Thiiébaut 2018, pp. 148.
  38. 1 2 3 Thiébaut 2016, p. 111.
  39. 1 2 Thiiébaut 2018, p. 159.
  40. ↑ Thiébaut 2018, p. 159.
  41. 1 2 Thiébaut 2018, p. 162.
  42. ↑ Thiébaut 2018, p. 162-166.
  43. ↑ Jiřičná, Klára (16 May 2012). "Slav Epic finally on display". The Prague Post. Archived from the original on 29 July 2014.
  44. ↑ "Who owns Alphonse Mucha's Slav Epic?". The Economist. 6 December 2016. Retrieved 8 December 2016.
  45. ↑ Fraser, Julie. H. "Recycling art" style2000.com.
  46. ↑ Masse, Bob. "Bob Masse's 60's Rock and Roll Art and Concert Posters" Retrieved April 2011.
  47. ↑ "Tajné společenství v Čechách – zednáři" [Secret society in the Czech Republic – Freemasons] (in Czech). ČT24. 30 December 2009. Retrieved 25 January 2011.
  48. ↑ Ivan Lendl: Alphonse Mucha, retrieved 16 July 2014.

Bibloliography

  • Thiébaut, Philippe (2018). Mucha et l'Art Nouveau (in French). Paris: Éditions du Chêne. ISBN 978-2-81231-806-1.
  • Tierchant, Hélène (2009). Sarah Bernhardt- Madame Quand même (in French). Paris: SW Télémaque. ISBN 978-2-7533-0092-7.
  • Sato, Tamako (2015). Alphonse Mucha - the Artist as Visionary. Cologne: Taschen. ISBN 978-3-8365-5009-3.
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