ouphrontis:

“The cover was designed in 1896 for the special Christmas number of the magazine.  As in many examples of Mucha’s designs for magazine covers, this composition is rich with symbolism.  Although we don’t have Mucha’s own writing about the interpretation of this particular design, we  can read the idea behind this cover. as follows.
As indicated by the title of this number ‘1896-Noel-1897’, the magazine marks the turn of the year - the passing of the old year and its renewal.  The pale figure of the dead (or dying) woman in the foreground seems to symbolise the passing year, while the winged figure is wrapping her body in a shroud. The silhouetted flower held by the passing woman is thistle, which often symbolises Sin and earthly suffering. However, the hope for renewal and redemption is indicated by the image of the silhouetted church building in the background (considering the occasion, probably the Church of Nativity) as well as the band of decorative motifs on the left, consisting of three pairs of hands and snowed branches of Christmas tree. In the Christian context, pairs of hands often allude to spiritual power or the conduits to convey spiritual energy, while Christmas trees represent vitality or life force.  Whist these motifs were inspired by the Christian tradition, the idea of ‘mechanical’ hands with cogs is totally unique.  By this,  probably Mucha expressed the power of the mysterious God who governs time and the harmonious working of Nature.” - Mucha Foundation

ouphrontis:

The cover was designed in 1896 for the special Christmas number of the magazine.  As in many examples of Mucha’s designs for magazine covers, this composition is rich with symbolism.  Although we don’t have Mucha’s own writing about the interpretation of this particular design, we  can read the idea behind this cover. as follows.

As indicated by the title of this number ‘1896-Noel-1897’, the magazine marks the turn of the year - the passing of the old year and its renewal.  The pale figure of the dead (or dying) woman in the foreground seems to symbolise the passing year, while the winged figure is wrapping her body in a shroud. The silhouetted flower held by the passing woman is thistle, which often symbolises Sin and earthly suffering. However, the hope for renewal and redemption is indicated by the image of the silhouetted church building in the background (considering the occasion, probably the Church of Nativity) as well as the band of decorative motifs on the left, consisting of three pairs of hands and snowed branches of Christmas tree. In the Christian context, pairs of hands often allude to spiritual power or the conduits to convey spiritual energy, while Christmas trees represent vitality or life force.  Whist these motifs were inspired by the Christian tradition, the idea of ‘mechanical’ hands with cogs is totally unique.  By this,  probably Mucha expressed the power of the mysterious God who governs time and the harmonious working of Nature.” - Mucha Foundation

luceen:

Quelques œuvres de l’Épopée slave (1928) d’Alfons Mucha

  1. Introduction à la liturgie slave, Huile sur toile, 1912
  2. Le Roi hussite Jiří z PoděbradHuile sur toile, 1910-1928
  3. L’affranchissement des paysans russes, Huile sur toile, 1914
  4. La Défense de Szeged contre les turques, Huile sur toile, 1910-1928
  5. Le Serment d’Omladina, Huile sur toile, 1910-1928
  6. Le Dernier Jour de Jan Amos Komensky, Huile sur toile, 1918

luceen:

Affiche pour le papier à cigarette JOB, Alfons Mucha, Lithographie, 1896 

luceen:

Affiche pour le papier à cigarette JOB, Alfons Mucha, Lithographie, 1896