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By Patrick Bade

Born in 1860 in a small Czech city, Alphonse Mucha (1860-1939) used to be an artist at the leading edge of paintings Nouveau, the modernist circulate that swept Paris within the 1910s, marking a go back to the simplicity of typical kinds, and altering the realm of paintings and layout endlessly. in truth, paintings Nouveau was once recognized to insiders because the “Mucha type” for the legions of imitators who tailored the master’s celebrated tableaux. this present day, his work have encouraged album covers, comedian books, and every thing in among. Patrick Bade and Victoria Charles provide readers an inspiring survey of Mucha’s occupation, illustrated with over 100 of lustrous photographs, from early Parisian ads and posters for Sandra Bernhardt, to the recognized historic work of art painted previous to his loss of life, on the age of seventy eight, in 1939.

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Collection of Robert Allan Haas, Kansas City. (pp. 60-61) 59 Amsterdam, neo-Flemish taste, masterfully handled, usually triumphed. But the Netherlands also participated in the new movement, often with exceptional feeling. What a pity that the Netherlands failed to exhibit architectural drawings at the Exposition, because some of the houses in the new quarters being built near the museum had exquisite line and colouration: light touches of soft colour in the pale green hues that harmonise so well with brick.

The Mucha Trust Collection. Hommage Respectueux de Nestlé (the Nestlé Company’s tribute to Queen Victoria’s 60th Jubilee), 1897. Colour lithograph, 300 x 200 cm. The Mucha Trust Collection. (pp. 52-53) 51 52 53 countries had become a popular Art Nouveau motif, sometimes depicted in sunny interiors that were bright and dazzling due to the enamel and the copperware that decorated them. In ceramics, one could admire new high-fire porcelain with pure enamel produced by the Royal Manufactory of Charlottenburg and the Meissen factory, and earthenware from the Mettlach factory.

This was already the focus of French exhibitors in 1889. But those artists were looking for novelty in absolute realism. Their successors remembered that the refined art of the 18th century had derived its charm from the free interpretation of nature, not its rigorous imitation. The best among the artist craftsmen endeavoured to instil their designs with the gentle harmony of line and form found in old French masterpieces and to decorate them with all the novelty that the rich and vibrant flora and fauna could provide when freely interpreted.

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