Alphonse Mucha

Alphonse Mucha
Alfons Mucha in Studio (c. 1899).jpg
Mucha in his studio (c. 1899)
Alfons Maria Mucha

(1860-07-24)24 July 1860
Died14 July 1939(1939-07-14) (aged 78)
EducationMunich Academy of Fine Arts
Académie Julian
Académie Colarossi
Known forPainting, Illustration, Decorative art
Notable work
The Slav Epic (Slovanská epopej)
MovementArt Nouveau
AwardsLegion of Honor (France), Knight of the Order of Franz Joseph I (Austria)
Alfons Mucha signature from letter.svg

Alfons Maria Mucha[1][2] (Czech: [ˈalfons ˈmuxa] (About this soundlisten); 24 July 1860 – 14 July 1939),[3] known internationally 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, particularly those of Sarah Bernhardt.[4] He produced illustrations, advertisements, decorative panels, and designs, which became among the best-known images of the period.[5]

In the second part of his career, at the age of 43, he returned to his homeland of Bohemia-Moravia region in Austria 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,[3] which he painted between 1912 and 1926. In 1928, on the 10th anniversary of the independence of Czechoslovakia, he presented the series to the Czech nation. He considered it his most important work. It is now on display in Prague.

  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. ^ a b Ian Chilvers (2017). The Oxford Dictionary of Art and Artists. Oxford University Press. p. 891. ISBN 9780191024177.
  4. ^ "Mucha, Noted Artist, Dropped First Name; Death Due To Shock Caused By Germans' Seizure Of Prague". The 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 ...
  5. ^ Thiébaut 2018, pp. 64–77.