The Seasons (Les Saisons) by Alphonse Mucha is among the most celebrated expressions of Art Nouveau printmaking: a suite of four poetic lithographs—Spring, Summer, Autumn, and Winter—each allegory embodied by an idealized female figure adorned with the flora and fauna of their eponymous season.
Spring (Les Printemps) Spring emerges as an ethereal, blonde sylph—an air elemental—standing before a haze of apple blossoms. She is framed by a delicate wreath of blooming dogwood, a motif Mucha studied from life. She fashions a lyre-like instrument from a fresh green branch, her own flowing hair forming its strings, evoking the poetic ideal of the Aeolian harp—an instrument played not by human hands but by the wind itself. This association aligns her with Romantic notions of nature as an animating force, written by contemporaneous poets such as Samuel Taylor Coleridge. At her feet, songbirds—including the ortolan bunting, long associated in French culture with innocence, and the exotic red-billed leiothrix, prized for its melodious song—gather to animate the composition with sound. The floral border of her garment, composed of narcissi, asters, dianthus, and cuckoo flowers, reinforces the sense of the abundance that defines the season.
Summer (L’Été) Summer is rendered in languid repose, seated beside a reflective pool, her body slackened by the heat. Crowned with vivid red poppies—flowers of both sleep and sensuality—she dips her feet into cool water, seeking relief from the oppressive warmth. Ivy curls around her form, her translucent white drapery appears to slip from her shoulders, heightening the sense of languor. Unlike the airiness of Spring, Summer is grounded in the body, evoking the sensuous, almost narcotic stillness of a long, sun-drenched afternoon.
Autumn (L’Automne) Autumn is richly adorned, her deep auburn hair echoing the tones of fallen leaves that surround her. She turns her gaze not outward, but toward the ripe grapes she holds—a symbol of harvest and abundance. A crown of chrysanthemums, rendered in white and blue, rests upon her head, a flower closely associated with Mucha himself, who was known—according to his son Jiří Mucha—to wear one in his buttonhole. Her costume is elaborately detailed with filigree disk brooches inspired by the stage jewelry of Sarah Bernhardt, particularly in her role as Theodora. These jewelry designs by Mucha drew on historical sources ranging from Byzantine mosaics studied in Ravenna to the earlier Merovingian traditions of Frankish and Lombardic women, who wore paired brooches...
Category
Late 19th Century French Art Nouveau Antique Manhattan
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