Title: Papier a Cigarettes Job
Artist: Alphonse Marie Mucha
Category: Belle Epoque
Medium: Lithograph
Framed: Yes
Height: 11 1/4"
Width: 15 1/2"
Lithograph in color on wove paper Maitres de l'Affiche blindstamp.
Maitres de l'Affiche: Published by Jules Cheret, Printed by Chaix,
Paris, vol. V, 1900. Excellent condition.
Artist Bio: Alphonse Mucha was
not the originator of Art Nouveau, but his work, especially his
posters, came to symbolize the style. His is the name most closely
associated with Art Nouveau.
Mucha was born in Ivancice, Moravia in the Czech Republic. Under the
patronage of Count Khuen-Belassi, a wealthy landowner who first
commissioned Mucha to paint murals in his castle, Mucha studied at
the Academy of Fine Arts in Munich. After two years in Munich, he
was sent to study at the Academie Julian in Paris. After a couple of
years the supporting funds were discontinued and Mucha was to become
the proverbial starving artist. He was 27 years old with no money
and no prospects.
For approximately five years he struggled to make ends meet, working
in illustration for popular magazines and borrowing money. He shared
a studio with Gauguin for a short period of time. Mucha gave
impromptu art lessons. All the while he was formulating his own
theories and precepts of what he wanted his art to be. In December
of 1894 he was given an opportunity that would change his life.
During the Christmas holidays, he was called upon to create a poster
for Sarah Bernhardt’s play Gismonda. The poster, which appeared on
January 1, 1895 was the declaration of his new art. This near
life-size design was a sensation not only with Miss Bernhardt, but
also the adoring public. Its success made Mucha a celebrity. Miss
Bernhardt contracted him to do her posters, costumes and sets for
her plays for close to a decade.
Commissions poured in. In 1898 he moved to a new studio, had his
first one-man show and began publishing graphics with Champenois.
For the World’s Fair in Paris in 1900, Mucha designed the Bosnia-Hercegovina
Pavilion. He partnered with the goldsmith Georges Fouquet to create
jewelry based on his designs. He also published Documents Decoratifs,
a visual statement of his artistic theories. This portfolio, which
contains 72 plates, was used for years by many art schools as a
textbook, and it influenced a whole generation of artists.
His association with Miss Bernhardt led to an entry into social
circles where he was introduced to Charles Crane, a millionaire from
Chicago. In 1909 Crane provided financing for a project that Mucha
considered his life’s ambition, “The Slav Epic”. Covering the
history of the Slavic people up to the nineteenth century, twenty
massive paintings (approximately 24 x 40 feet) chronicling major
events in the Slav nation were presented to the city of Prague in
1928.
Mucha created a style based on strong compositions, sensuous curves
derived from nature refined decorative elements and natural colors.
His Gismonda poster set the standard for a great number of his
future posters. There are two zones of text on the upper and lower
sections that are countered balanced by the solitary figure. There
is an eloquent, expressive gesture filling the center. The drapery
intertwines with the text at the bottom. Reality and stylization are
integrated throughout the entire composition.
The four most conspicuous elements in Mucha’s posters are best
represented in one of his poster for Job cigarette papers. First,
women are seen as idealized beauty. Nearly all his designs will show
women as beautiful and desirable. Repeated in Mucha’s best work is a
bordered ring behind the main subject. Mucha saw the circle as the
most perfect shape in nature and he utilized as often as possible.
The undulating tresses (sometimes referred to as “macaroni”) are
used often to adorn and enhance their loveliness. The fourth element
is his use of meticulous ornamentation. Mucha makes sure the
background of his posters is as carefully crafted as his the main
subject.
Mucha’s name is used synonymously with the Art Nouveau movement. He
is considered the most important artist of that movement. His work
is in major museums throughout the world. He created some of the
most beautiful posters ever done. His posters are rare. There is not
an abundance of his works offered to collectors. It’s probably
easier to find Lautrec’s posters than Mucha’s.
|
|
|
