[amazon_link asins=’1844848566,B00CR6D3JU,B00J86V380,B00IODLPUY,B00J86V31C,B00J86V30I,1906981167′ template=’ProductCarousel’ store=’parkstone-20′ marketplace=’US’ link_id=’e9fa1e32-001b-11e8-8d93-a1e41806e383′]
Exhibition: Alphonse Mucha
Date: 12 October 2017 – 25 February 2018
Venue: Palacio de Gaviria, Madrid
Since the Art Nouveau revival of the 1960s, when students around the world adorned their rooms with reproductions of Mucha posters of girls with tendril-like hair and the designers of record sleeves produced Mucha imitations in hallucinogenic colours, Alphonse Mucha’s name has been irrevocably associated with the Art Nouveau style and with the Parisian fin-de-siècle. Artists rarely like to be categorised and Mucha would have resented the fact that he is almost exclusively remembered for a phase of his art that lasted barely ten years and that he was regarded as of lesser importance. As a passionate Czech patriot he would have also been unhappy to be regarded as a “Parisian” artist.
Mucha was born on July 14, 1860 at Ivancice in Moravia, then a province of the vast Habsburg Empire. It was an empire that was already splitting apart at the seams under the pressures of the burgeoning nationalism of its multi-ethnic component parts. In the year before Mucha’s birth, nationalist aspirations throughout the Habsburg Empire were encouraged by the defeat of the Austrian army in Lombardy that preceded the unification of Italy.
In the first decade of Mucha’s life Czech nationalism found expression in the orchestral tone poems of Bedrich Smetana that he collectively entitled “Ma Vlast” (My country) and in his great epic opera “Dalibor” (1868). It was symptomatic of the Czech nationalist struggle against the German cultural domination of Central Europe that the text of “Dalibor” had to be written in German and translated into Czech. From his earliest days Mucha would have imbibed the heady and fervent atmosphere of Slav nationalism that pervades “Dalibor” and Smetana’s subsequent pageant of Czech history “Libuse” which was used to open the Czech National Theatre in 1881 and for which Mucha himself would later provide set and costume designs.
Mucha’s upbringing was in relatively humble circumstances, as the son of a court usher. His own son Jiri Mucha would later proudly trace the presence of the Mucha family in the town of Ivancice back to the fifteenth century. If his family was poor, Mucha’s upbringing was nevertheless not without artistic stimulation and encouragement. According to his son Jiri “He drew even before he learnt to walk and his mother would tie a pencil round his neck with a coloured ribbon so that he could draw as he crawled on the floor. Each time he lost the pencil, he would start howling.”
His first important aesthetic experience would have been in the Baroque church of St. Peter in the local capital of Brno where from the age of ten he sang as a choir-boy in order to support his studies in the grammar school. During his four years as a chorister he came into frequent contact with the six years older Leoš Janácek, the greatest Czech composer of his generation with whom he shared a passion to create a characteristically Czech art…
To get a better insight into the life and the work of Mucha, continue this exciting adventure by clicking on: Mucha , Amazon UK , Amazon US , Ebook Gallery , iTunes , Google , Amazon Australia , Amazon Canada , Amazon Germany , Ceebo (Media Control), Ciando , Tolino Media , Open Publishing , Barnes&Noble , Baker and Taylor , Amazon Italy , Amazon Japan , Amazon China , Amazon India , Amazon Mexico , Amazon Spain , Amabook , Odilo , 24symbols , Arnoia , Nubico , Overdrive , Amazon France , numilog , youboox , Cyberlibris , Kobo , Scribd , Douban , Dangdang