Cover for "L'Estampe Moderne"

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Alphonse Mucha
Cover for "L'Estampe Moderne"
1899

Name: Cover for "L'Estampe Moderne"
Brand: Alphonse Mucha
Rating: 5 (102 reviews)

Price:$450

About the Item

Cover for "L'Estampe Moderne" Two color lithograph on greenish laid paper, 1899 Signed in the stone lower left (see photo) L'Estampe Moderne appeared each month as a portfolio of 4 original lithographs, priced at 3 francs 50 centimes. Each print bore the blind stamp of a woman's head lower right. Printer: Champenois, Paris Provenance: Stedelijk Museum, Schiedam, their stamp on the verso of title page of album Condition: Excellent Image size including text: 16 5/16 x 12 5/16 inches Reference: Mucha R 10a Alphonse Mucha Czech artist Movement / Style: Art Nouveau Alphonse Mucha, original name Alfons Maria Mucha, (born July 24, 1860, Ivančice, Moravia, Austrian Empire [now in Czech Republic]—died July 14, 1939, Prague, Czechoslovakia), Art Nouveau illustrator and painter noted for his posters of idealized female figures. After early education in Brno, Moravia, and work for a theatre scene-painting firm in Vienna, Mucha studied art in Prague, Munich, and Paris in the 1880s. He first became prominent as the principal advertiser of the actress Sarah Bernhardt in Paris. He designed the posters for several theatrical productions featuring Bernhardt, beginning with Gismonda (1894), and he designed sets and costumes for her as well. Mucha designed many other posters and magazine illustrations, becoming one of the foremost designers in the Art Nouveau style. His supple, fluent draftsmanship is used to great effect in his posters featuring women. His fascination with the sensuous aspects of female beauty—luxuriantly flowing strands of hair, heavy-lidded eyes, and full-lipped mouths—as well as his presentation of the female image as ornamental, reveal the influence of the English Pre-Raphaelite aesthetic on Mucha, particularly the work of Dante Gabriel Rossetti. The sensuous bravura of the draftsmanship, particularly the use of twining, whiplash lines, imparts a strange refinement to his female figures. Between 1903 and 1922 Mucha made four trips to the United States, where he attracted the patronage of Charles Richard Crane, a Chicago industrialist and Slavophile, who subsidized Mucha’s series of 20 large historical paintings illustrating the “Epic of the Slavic People” (1912–30). After 1922 Mucha lived in Czechoslovakia, and he donated his “Slavic Epic” paintings to the city of Prague. Art Nouveau, ornamental style of art that flourished between about 1890 and 1910 throughout Europe and the United States. Art Nouveau is characterized by its use of a long, sinuous, organic line and was employed most often in architecture, interior design, jewelry and glass design, posters, and illustration. It was a deliberate attempt to create a new style, free of the imitative historicism that dominated much of 19th-century art and design. About this time the term Art Nouveau was coined, in Belgium by the periodical L’Art Moderne to describe the work of the artist group Les Vingt and in Paris by S. Bing, who named his gallery L’Art Nouveau. The style was called Jugendstil in Germany, Sezessionstil in Austria, Stile Floreale (or Stile Liberty) in Italy, and Modernismo (or Modernista) in Spain. In England the style’s immediate precursors were the Aestheticism of the illustrator Aubrey Beardsley, who depended heavily on the expressive quality of organic line, and the Arts and Crafts movement of William Morris, who established the importance of a vital style in the applied arts. On the European continent, Art Nouveau was influenced by experiments with expressive line by the painters Paul Gauguin and Henri de Toulouse-Lautrec. The movement was also partly inspired by a vogue for the linear patterns of Japanese prints (ukiyo-e). The distinguishing ornamental characteristic of Art Nouveau is its undulating asymmetrical line, often taking the form of flower stalks and buds, vine tendrils, insect wings, and other delicate and sinuous natural objects; the line may be elegant and graceful or infused with a powerfully rhythmic and whiplike force. In the graphic arts the line subordinates all other pictorial elements—form, texture, space, and colour—to its own decorative effect. In architecture and the other plastic arts, the whole of the three-dimensional form becomes engulfed in the organic, linear rhythm, creating a fusion between structure and ornament. Architecture particularly shows this synthesis of ornament and structure; a liberal combination of materials—ironwork, glass, ceramic, and brickwork—was employed, for example, in the creation of unified interiors in which columns and beams became thick vines with spreading tendrils and windows became both openings for light and air and membranous outgrowths of the organic whole. This approach was directly opposed to the traditional architectural values of reason and clarity of structure. There were a great number of artists and designers who worked in the Art Nouveau style. Some of the more prominent were the Scottish architect and designer Charles Rennie Mackintosh, who specialized in a predominantly geometric line and particularly influenced the Austrian Sezessionstil; the Belgian architects Henry van de Velde and Victor Horta, whose extremely sinuous and delicate structures influenced the French architect Hector Guimard, another important figure; the American glassmaker Louis Comfort Tiffany; the French furniture and ironwork designer Louis Majorelle; the Czechoslovakian graphic designer-artist Alphonse Mucha; the French glass and jewelry designer René Lalique; the American architect Louis Henry Sullivan, who used plantlike Art Nouveau ironwork to decorate his traditionally structured buildings; and the Spanish architect and sculptor Antonio Gaudí, perhaps the most original artist of the movement, who went beyond dependence on line to transform buildings into curving, bulbous, brightly coloured, organic constructions. After 1910 Art Nouveau appeared old-fashioned and limited and was generally abandoned as a distinct decorative style. In the 1960s, however, the style was rehabilitated, in part, by major exhibitions organized at the Museum of Modern Art in New York (1959) and at the Musée National d’Art Moderne (1960), as well as by a large-scale retrospective on Beardsley held at the Victoria & Albert Museum in London in 1966. The exhibitions elevated the status of the movement, which had often been viewed by critics as a passing trend, to the level of other major Modern art movements of the late 19th century. Currents of the movement were then revitalized in Pop and Op art. In the popular domain, the flowery organic lines of Art Nouveau were revived as a new psychedelic style in fashion and in the typography used on rock and pop album covers and in commercial advertising. Courtesy Britannica

Creator:
Alphonse Mucha (1860 - 1930, Czech)
Creation Year:
1899
Dimensions:
Height: 16.32 in (41.46 cm)Width: 12.32 in (31.3 cm)
Medium:
Lithograph
Movement & Style:
Art Nouveau
Period:
1890-1899
Condition:
Gallery Location:
Fairlawn, OH
Reference Number:
Seller: FA122561stDibs: LU14011747802

Shop All Alphonse Mucha

Alphonse Mucha

Alphonse Mucha is acclaimed for his distinctly stylized and decorative Art Nouveau illustrated posters and prints — particularly those depicting beautiful French actress and famous artists’ muse Sarah Bernhardt. His work remains widely loved by everyone from bohemian students to serious collectors.

Mucha and his contemporaries treated femininity as the antidote to the impersonal, masculine world of the industrial revolution — it was to be celebrated and embraced. He fervently believed that art is a crucial, enjoyable benefit to humankind, and it should be accessible to as many people as possible.

Mucha showed an early talent for drawing. Rejected when he applied to the Academy of Fine Arts in Prague in 1878, he traveled to Vienna — two years later at the age of 19 — and found work painting theater backdrops. After a tragic fire that destroyed the theater that employed him, he returned home and began painting portraits. Count Eduard Khuen Belasi hired Mucha to paint a series of murals for his residence.

In 1885, the Count sent Mucha to the Munich Academy of Fine Arts — paying his tuition and living expenses. Mucha moved to Paris in 1888 to continue his studies, where he shared a studio with Paul Gauguin. There, he became enamored with the nude female form and allegorical studies. He enjoyed some financial success with magazine illustration work, which led to lucrative book illustration commissions. One of Mucha’s illustrations for the book Scenes and Episodes of German History received a medal of honor at the 1894 Paris Salon of Artists.

In 1894, Mucha began a six-year contract for the acclaimed stage actress Sarah Bernhardt, creating posters for her shows and tours. His first poster was an immediate sensation and cemented his fame in the Art Nouveau poster artist community.

Mucha designed some of the most famous posters of the era — a time when these works were key to the fabric of the cosmopolitan thoroughfare in the French capital. He created advertisements for JOB cigarette papers, Ruinart champagne, Lefèvre-Utile biscuits and Moët-Chandon champagne. Although Mucha is renowned for his posters, he spent the latter half of his life on decorative panel works and Czech nationalist artworks — many of them in the collection at the Mucha Museum in Prague.

Find original Alphonse Mucha nude prints, figurative prints, wall decorations and other art on 1stDibs.

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