- The Arts: Dance (1898)
- The Arts: Music (1898)
- The Arts: Painting (1898)
- The Arts: Poetry (1898)
Fuck Yeah Alphonse Mucha
A McFandrew Joynt
Alphonse Mucha, Byzantine Heads (pair) (1897)
This pair of decorative panels was so popular that it was reproduced in a number of different formats, including panels with variations in the frame decoration and decorative tin plates.
Both women are seen in profile against an ornate background of vegetal arabesques. They wear highly ornate jewellery in their hair, which is evocative of Byzantine design as suggested in the title. In both panels, strands of hair fall beyond the circular frames, bridging the gap between the women and the viewer and lending a sense of depth to the otherwise flattened compositions.
- The Arts: study for ‘Dance’ (1898). In the final version of this composition, Mucha added flowers and decorations to the figure’s hair and a drape over her right breast.
- The Arts: study for ‘Music’ (1898). In the final lithograph made from this drawing, the female figure is partially clothed.
- The Arts: study for ‘Painting’ (1898). There are differences in the choice of flower and the position of the girl’s arms in the final version of this work.
- The Arts: study for ‘Poetry’ (1898). In the final lithograph the figure of Poetry wears a dress with an ornate bust.
Alphonse Mucha, Ilsée, Princesse de Tripoli (1897)
Based on Edmond Rostand’s La Princesse Lointaine, written for Sarah Bernhardt in 1895, L’Ilsée, Princesse de Tripoli was commissioned from the author Robert de Flers by the Parisian publisher Henri Piazza.
By the time De Flers had completed his manuscript, Mucha had only three months to prepare 134 coloured lithographs before the edition was due to go to print.
Mucha later wrote of the experience: ‘We worked on four stones simultaneously. I did some of the drawings straight onto the stone. Other things, particularly the decorative edgings, I drew on tracing paper which was then passed on to the draughtsmen who continued the work with the colours I specified. I hardly had time to sketch out the motif for an ornament when they came and took it from my hands and got down to work on it.’
Ilsée was given an enthusiastic reception by the critics. Czech and German editions were later published in 1901 in Prague by B. Koci.