Fuck Yeah Alphonse Mucha
Fuck Yeah Alphonse Mucha
A McFandrew Joynt
Four Seasons (study), Alphonse Mucha, s.d.
lots of moon research these days.
Alphonse Mucha - Christmas in America
Male Nude, Alphonse Mucha
Cover of Vaughan’s Seeds (1905) illustrated by Alphonse Mucha (Alfons Maria Mucha) 1860-1939.
U.S. Department of Agriculture, National Agricultural Library
Art by Alphonse Mucha (1896) - “Nature.”
Alphonse Mucha, ‘Song of Bohemia' (1918). Oil on canvas.
A musical theme is depicted in this painting which was reproduced in the Zlatá Praha magazine in 1918 with the title ‘Our Song’.
Brooklyn Museum Exhibition, 1921
By Alphonse Mucha
Czech Art Nouveau artist.
Alphonse Mucha (1860-1939)
Graphic Masterworks: A Century of Design
Cover from Au Quartier Latin, 1898
Moët & Chandon: White Star and Imperial - Alphonse Mucha (1899)
Published in Paris by F. Champenois.
Cycles Perfecta. 1902. Alphonse Mucha.
Alphonse Mucha - Modèle pour Médée,1898
A sample from Alphonse Mucha’s personal collection of studio photography
A Winter Tale - Alphonse Mucha
(see more) art-and-fury
Art by Alphonse Mucha (1894) - “The Spirit Of Spring.”
Alphonse Mucha (Czech, 1860-1939), Sketch for ‘The Slav Epic’, c.1912. Oil on canvas.
Alphonse Mucha, Salammbô, 1896.
The fin de siècle in France is known retrospectively as la Belle Époque – the Beautiful Era, the time anticipating the 1900 Exposition Universelle, the time before the War. When we peer through the mists of imaginative history, the era is illuminated by a magical glow. It was always a lush twilight, Montmarte was flooded with geniuses and bohemians, the cafés lit by those charming globe-shaped lamps, the cuisine was haute and absinthe flowed from the fountains, the scent of Grasset’s flowers and the tinkling of Debussy and Satie wafted through the air, all the actresses were Sarah Bernhardt, all the can-can dancers were Toulouse-Lautrecs, all the men were Sem’s quipping dandies sporting green carnations to match their Pernod and all the wine-warm laughing ladies in the cabarets had hair made of twining Mucha whiplash lines, all their jewelry was Lalique, all the furniture was Majorelle and unfurled itself in organic floral curves, even all the posters pasted on the buildings were bright and beautiful Art Nouveau advertising the gay nightlife of the City of Light.
This was the same city Jean Lorrain called the Poisoned City. This beautiful era was also the reign of the Decadence, languidly awaiting the Apocalypse on the deathbed of history, disgusted and exhausted by all the crass gaiety, seeing in every woman a femme fatale and in every man a syphilitic Sodomite, and fleeing into dreams, drugs or the occult. We see the two faces of the fin de siècle meet at times, in Mucha for example, here taking the incense, flowers and peacock feathers of Symbolism’s favorite Flaubert heroine and rendering them in the bold-lined, glowing, graphic style that assured his fame as a master Art Nouveau confectioner.
Memory of Ivancice
by Alphonse Mucha
Studio photography by Alphonse Mucha, 1900-1920 Mujeres de Mexico.
Le Pater by Alphonse Mucha, 1900.
“Les Fleurs - The Rose" (detail), 1898, Alphonse Mucha. (original here)
Alphonse Mucha. Design for the indoor stained glass panels of Georges Fouquet’s Bijouterie, Paris, Musée Carnavalet (Carnavalet Museum).
Saint Elizabeth Being Scourged by Alphonse Mucha, 1895
Alphonse Mucha. Design for ‘Heart’s International' (1922). Watercolor.
Los Cigarrillos Paris : Maquette. 1897. Alphonse Mucha