Transcript שקופית 1

Art Posters
Alfons Mucha
Mucha was established as a leading poster artist between 1895
and 1900. During this period, six posters by Mucha appeared in
Les Maîtres de l'Affiche, Jules Chéret’s monthly publication
featuring the best posters of the time selected by him. Also from
that time, Mucha’s distinctive style was called ‘le style Mucha’,
becoming synonymous with the current ‘Art Nouveau’ style.
In gaining wider public recognition as the ‘Master of the Art
Nouveau poster’. Decorative panels were posters without text,
a prototype of today’s art posters, designed purely for artistic
appreciation or decorating interior walls. It was the printer
Champenois who invented this idea from the business point
of view: to maximise business opportunity by recycling
Mucha’s designs for many different editions. However, it was
Mucha who transformed them into a new art form, affordable
and available to the wider public, whereas, traditionally, works
of art were available only to the privileged few.
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 massproduced decorative panel. Of the panels, Mucha later wrote: ‘I
was happy to be involved in an art for the people and not for
private drawing rooms. It was inexpensive, accessible to the
general public, and it found a home in poor families as well as in
more affluent circles.’
The first of Mucha’s decorative panels were The Seasons (1896),
a series of four panels representing the theme of the four
seasons. The series proved very popular and it was followed by
other popular series including The Flowers (1898), The Arts
(1898), The Times of the Day (1899), The Precious Stones (1900)
and The Moon and the Stars (1902). These panels illustrate all
the typical qualities of the Mucha poster – the beautiful women
with suggestive gestures, the decorative use of flowers and
flowing hair, the subtle yet striking colours – all combine to
create a compelling harmony of vision whose intention is to
inspire and elevate the viewer.
The Seasons (series) 1896
This was Mucha's first set of decorative panels and it became one of his most
popular series. It was so popular that Mucha was asked by Champenois to
produce at least two more sets based on the same theme in 1897 and 1900.
Designs for a further two sets also exist.
The idea of personifying the seasons was nothing new - examples could be
found in the works of the Old Masters' as well as in Champenois's other
publications. However, Mucha's nymph-like women set against the seasonal
views of the countryside breathed new life into the classic theme. In the four
panels shown here, Mucha captures the moods of the seasons - innocent
Spring, sultry Summer, fruitful Autumn and frosty Winter, and together they
represent the harmonious cycle of Nature.
Spring
Summer
Autumn
Winter
Four Seasons © Alphonse Mucha Estate/Artists Rights Society, New York,
Paris
Rêverie (daydream) ‫חלום בהקיץ‬
(1897)
Like Zodiac, this lithograph was originally designed to serve as the 1898 Its
immediate popularity led to its swift publication by the magazine La Plume as a
decorative panel with the title Reverie (daydream).
Mucha's design shows a dreamy-eyed young woman leafing through a book of
decorative designs. The prominent disk behind her is elaborately decorated
with flowers and their stems forming a lace-like pattern.
1900 Pouch design © Alphonse Mucha Estate/Artists Rights Society
(ARS), New York/ADAGP, Paris
Souvenir of Belle Jardiniere, 2 Rue du Pont Neuf, Paris
Months of the Year 'April'
Months of the Year 'August' Months of the Year 'August'
The Arts (series) (1898)
Produced at the height of Mucha's fame in 1898, this series was printed on
vellum in an edition of 1000 copies, with an additional 50 limited edition copies
printed on satin.
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 Arts 1898
The Arts: Dance (1898)
Dance, the most sensual of the series, is the sole standing figure.
Her sinuous figure and long auburn hair sway in the autumn breeze.
1898 'The Arts - Dance'
study pencil & watercolour 56 x 34.8 cm
1898 'The Arts - Music' study pencil &
watercolour 56 x 34.8 cm
The Arts: Music (1898)
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.
1898 'The Arts - Music' lithograph 60 x 38 cm
The Arts: Painting (1898)
A girl with outstretched hands holds a red flower in her right
hand. The flower symbolises nature as a source of
inspiration and admiration for the artist.
1898 'The Arts - Painting' lithograph 60 x 38 cm
The Arts: Poetry (1898)
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
1898 'The Arts - Poetry' lithograph 60 x 38 cm
The Flowers (series) (1898)
In this series personifying four flowers, Mucha uses a
naturalistic style with minimal stylisation.
Two of the original watercolours were exhibited at Mucha's
solo exhibition at the Salon des Cent in 1897, but the entire
set did not becoma available until the following year.
The series sold out very quickly and Champenois decided to
print a smaller version with all four panels presented in a
single image
The Flowers - Carnation, Lily, Iris, Rose"
lithography, 103,5 x 43,5 1898.
The Flowers - Carnation",
lithography,103,5 x 43,5 cm.,
1898
1898 'The Flowers - Lily'
lithograph 103.5 x 43.5 cm ©
Paris
'The Flowers - Iris' pencil &
ink wash
1898 'The Flowers - Iris'
lithograph 103.5 x 43.5 cm
1898 'The Flowers - Rose'
lithograph 103.5 x 43.5 cm
1897 'Fruit and Flower'
1897 'Fruit' lithograph
Byzantine Heads: Brunette (1897)
The pendants that form part of this tiara herald Mucha's later jewellery
designs. A similar design can be seen in Mucha's Zodiac panel of the
previous year.
It was on the basis of these highly detailed designs that Parisian
jeweller Georges Fouquet decided to enlist the help of Mucha for his
collection for the 1900 Exposition Universelle.
Byzantine Heads: Blonde (1897)
Blond wears a white scarf in her hair embellished with jewels and an
ornate metal disk fringed with pearls.
It was on the basis of these highly original designs that Fouquet
decided to enlist the help of Mucha for his collection for the 1900
Exposition Universelle.
The Times of the Day (series) (1899)
In this series, Mucha combined fresh yet delicate colours with exuberant
floral motifs.
Each woman is set within natural surroundings which reflects her mood.
The whole is then enclosed in an elaborate ornamental frame
reminiscent of a Gothic window.
Morning Awakening
Brightness of Day
Evening Contemplation
Night’s Rest
The Moon and the Stars:
study for 'The Moon'
(1902)
Morning Star
The Precious Stones (series) (1900)
In this series, women personify four precious stones. In each panel, the
upper part of the composition is dominated by the female figure, while the
lower part features a realistically drawn flower whose colour echoes that
of the particular gemstone. The colour scheme of each panel - including
the flowing robes, the hair decorations, the mosaic halos and even the
colour of the woman's eyes – recalls the colour of the stone. This lends a
pleasing harmony to each image.
Ruby
Amethyst
1900 The Precious Stones 'L'Amèthyste' (Amethyst) Study of Drapery gouache
1900 The Precious Stones
'L'Èmeraude' (Emerald)
lithograph 67.2 x 30 cm)
1900 The Precious Stones
photographic study in Mucha's
stdio Rue du Val de Grâce, Paris
Topaz
Laurel (1901)
The position of the girl's head, with slightly lowered eyes, is the same as
that of three of the ten glass panels Mucha designed the same year for the
interior of the Boutique Fouquet.
The leaf motif around the circular frame recalls the decorative frame of
Zodiac (1896).
This panel was later used as a calendar for the signage company Dewez.
Ivy (1901)
This panel recalls the poster Mucha designed for the dancer Lygie the
same year and may well have been inspired by her.
The decorative ivy foliage transforms the circular frame into an oblong.
Both Ivy and its companion piece Laurel were later produced as
decorative metal plates.
Heather from Coastal Cliffs (1902)
Mucha regularly holidayed in the coastal province of Normandy in
northwestern France, and referred to this panel as La Normande.
Thistle from the Sands (1902)
Mucha regularly holidayed in the coastal province of Brittany in
northwestern France, and referred to this panel as La Bretonne.
The plant carried by the Breton woman is in fact not a thistle but a
sea holly which flourished in coastal areas.
:‫מקורות‬
http://poulwebb.blogspot.co.il/2013/04/alphonse-mucha-part-1.html
http://www.muchafoundation.org/about/mucha-museum
http://www.muchafoundation.org/gallery/browse-works/page/1
http://he.wikipedia.Mucha
http://richet.christian.free.fr/gauloisgismonda/gaulois.html
http://www.rugusavay.com/alphonse-mucha-selected-works/
http://www.museumsyndicate.com/item.php?item=2691
http://www.muchafoundation.org/gallery/browse-works/object/199
http://www.muchafoundation.org/gallery/themes
http://one1more2time3.wordpress.com/2013/06/30/muchas-4-seasons/
Alphonse Mucha Estate- © ‫לרוב התמונות זכויות היוצרים שייכים ל‬
Artists Rights Society (ARS), New York-ADAGP, Paris
‫קלריטה ואפרים‬
:‫הנכם מוזמנים להיכנס לאתר שלנו‬
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