Alphonse Mucha — @mucha
Xibit360 Curated Exhibition · Curated by Xibit360
Alphonse Mucha turned the street poster into an object of desire. This room follows him from Sarah Bernhardt — the actress herself, and Gismonda (1894), the poster for her that made his name — through the theatre posters, advertisements and decorative panels of the late 1890s — JOB, Bières de la Meuse, Monaco · Monte-Carlo — to plates from his pattern book Documents décoratifs. From the open-access collections of the Art Institute of Chicago and the Cleveland Museum of Art, with posters from the Museum of Decorative Arts in Prague, the Bibliothèque nationale de France, the Musée Carnavalet and the National Gallery of Art via Wikimedia Commons; every image is in the public domain.
Alphonse Mucha — 1893
Collection: The Art Institute of Chicago · CC0 · Source image
Sarah Bernhardt
Alphonse Mucha — 1893
Collection: The Art Institute of Chicago · CC0 · Source image
Alphonse Mucha — 1894
Collection: Museum of Decorative Arts in Prague (via Wikimedia Commons) · Public Domain · Source image
Gismonda (Sarah Bernhardt)
Alphonse Mucha — 1894
Collection: Museum of Decorative Arts in Prague (via Wikimedia Commons) · Public Domain · Source image
Alphonse Mucha — 1896
Collection: The Cleveland Museum of Art · CC0 · Source image
Lorenzaccio
Alphonse Mucha — 1896
Collection: The Cleveland Museum of Art · CC0 · Source image
Alphonse Mucha — 1896
Collection: The Art Institute of Chicago · CC0 · Source image
Zodiaque ("La Plume")
Alphonse Mucha — 1896
Collection: The Art Institute of Chicago · CC0 · Source image
Alphonse Mucha — 1896
Collection: Bibliothèque nationale de France (via Wikimedia Commons) · Public Domain · Source image
JOB
Alphonse Mucha — 1896
Collection: Bibliothèque nationale de France (via Wikimedia Commons) · Public Domain · Source image
Alphonse Mucha — 1896
Collection: Musée Carnavalet, Paris (via Wikimedia Commons) · CC0 · Source image
La Dame aux Camélias (Sarah Bernhardt)
Alphonse Mucha — 1896
Collection: Musée Carnavalet, Paris (via Wikimedia Commons) · CC0 · Source image
Alphonse Mucha — 1896
Collection: National Gallery of Art, Washington (via Wikimedia Commons) · CC0 · Source image
Biscuits Lefèvre-Utile
Alphonse Mucha — 1896
Collection: National Gallery of Art, Washington (via Wikimedia Commons) · CC0 · Source image
Alphonse Mucha — 1897
Collection: The Cleveland Museum of Art · CC0 · Source image
Ilsee, Princesse de Tripoli
Alphonse Mucha — 1897
Collection: The Cleveland Museum of Art · CC0 · Source image
Alphonse Mucha — 1897
Collection: The Art Institute of Chicago · CC0 · Source image
The Seasons
Alphonse Mucha — 1897
Collection: The Art Institute of Chicago · CC0 · Source image
Alphonse Mucha — 1897
Collection: The Art Institute of Chicago · CC0 · Source image
La Samaritaine
Alphonse Mucha — 1897
Collection: The Art Institute of Chicago · CC0 · Source image
Alphonse Mucha — 1897
Collection: Musée Carnavalet, Paris (via Wikimedia Commons) · CC0 · Source image
Bières de la Meuse
Alphonse Mucha — 1897
Collection: Musée Carnavalet, Paris (via Wikimedia Commons) · CC0 · Source image
Alphonse Mucha — 1897
Collection: Bibliothèque nationale de France (via Wikimedia Commons) · Public Domain · Source image
Monaco · Monte-Carlo
Alphonse Mucha — 1897
Collection: Bibliothèque nationale de France (via Wikimedia Commons) · Public Domain · Source image
Alphonse Mucha — 1901
Collection: The Cleveland Museum of Art · CC0 · Source image
Documents Décoratifs: Oriental Poppies
Alphonse Mucha — 1901
Collection: The Cleveland Museum of Art · CC0 · Source image
Alphonse Mucha — 1901
Collection: The Cleveland Museum of Art · CC0 · Source image
Documents Décoratifs: Sweet Peas
Alphonse Mucha — 1901
Collection: The Cleveland Museum of Art · CC0 · Source image
Alphonse Mucha — 1901
Collection: The Cleveland Museum of Art · CC0 · Source image
Documents Décoratifs: Plate 38
Alphonse Mucha — 1901
Collection: The Cleveland Museum of Art · CC0 · Source image
An exhibition Xibit360 made from public-domain works. It is not affiliated with the artist or with the collections credited.
Credits
Collection: The Art Institute of Chicago · CC0 · Source image
Collection: Museum of Decorative Arts in Prague (via Wikimedia Commons) · Public Domain · Source image
Collection: The Cleveland Museum of Art · CC0 · Source image
Collection: The Art Institute of Chicago · CC0 · Source image
Collection: Bibliothèque nationale de France (via Wikimedia Commons) · Public Domain · Source image
Collection: Musée Carnavalet, Paris (via Wikimedia Commons) · CC0 · Source image
Collection: National Gallery of Art, Washington (via Wikimedia Commons) · CC0 · Source image
Collection: The Cleveland Museum of Art · CC0 · Source image
Collection: The Art Institute of Chicago · CC0 · Source image
Collection: The Art Institute of Chicago · CC0 · Source image
Collection: Musée Carnavalet, Paris (via Wikimedia Commons) · CC0 · Source image
Collection: Bibliothèque nationale de France (via Wikimedia Commons) · Public Domain · Source image
Collection: The Cleveland Museum of Art · CC0 · Source image
Collection: The Cleveland Museum of Art · CC0 · Source image
Collection: The Cleveland Museum of Art · CC0 · Source image
Alphonse Mucha (1860–1939) was a Czech painter and designer whose posters became the signature of Art Nouveau in Paris. His breakthrough came on New Year's Day 1895, when his poster for Sarah Bernhardt in Gismonda appeared on the streets of Paris; she signed him to a six-year contract, and his long, decorative figures of women framed by flowers, halos and flowing hair — the "Mucha style" — soon sold everything from cigarette papers to champagne. Later he returned to Bohemia and devoted himself to The Slav Epic, twenty monumental canvases on the history of the Slavic peoples.
Portrait: George R. Lawrence Co., Chicago, c. 1906 · Library of Congress · Public domain, via Wikimedia Commons
