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  • 04/15/13--01:35: Alphonse Mucha - part 6

  • Alphonse (Alfons) Mucha (1860 – 1939) was a Czech painter and decorative artist born in 1860 born in the town of Ivančice, Moravia. He is best known for his luxurious poster and product designs, which encapsulate the Art Nouveau style. Contemporary interest in his work was revived in 1980 after an exhibition at the Grand Palais in Paris.

    This is part 6 of a 12-part post on the works of Alphonse Mucha. For biographical notes on Mucha see part 1. For earlier works see parts 1 - 5 also. Part 7 tomorrow.

    c1900 'Gaufrettes Vanille' box-top for tins 17.7 x 20.4 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    c1900 Poster for 'Bleuze-Hadancourt Parfumeur' 72 x 34.3 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    c1900 Wrestler charcoal & pastel on paper 47.5 x 59 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1901 'Ivy' lithograph 54 x 39.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1901 'Laurel' lithograph 54 x 39.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1901 Cover of 'Au Quartier Latin' lithography © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1901 Cover of 'La Esquella de la Torratxa' almanac © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1901 Poster for 'Heidsieck & Co.' Champagne lithograph 66.5 x 49.7 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902  'Heather from the Cliffs' & 'Thistle from the Sands' lithographs 74 x 35 cm each © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Heather from the Cliff' lithograph 74 x 35 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Thistle from the Sands' lithograph 74 x 35 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 Cover of 'Alamack Universel © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris
     
    1902 Documents Décoratifs
    The Documents Décoratifs published in 1902 is comprised of 72 plates that exemplify all that the Art Nouveau movement is remembered for, in the decorative forms of women, flowers, natural forms, jewellery etc.

    Although there are just 72 plates, I am showing associated works or originals alongside the printed  version wherever I've found them.



     1902 'Documents Décoratifs' Cover proposal (not used) © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Poster lithograph 73.5 x 44.2 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Cover 43.5 x 34 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Title page © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 1 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 2 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 2 detail © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 3 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 4 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Design for decorative panels (not used) © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 5 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 6 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 7 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 8 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

     Original chalk, wash & white gouache on paper 64.3 x 43.4 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 9 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 10 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Study crayon on paper 65 x 30.6 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 11 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 12 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Original crayon on paper 46.5 x 37.3 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 13 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 13 detail © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Study crayon, pen & ink on paper 105.5 x 40.4 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 14 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 15 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Photographic study © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 16 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 17 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Original crayon & gouache on paper © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 18 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Original crayon & gouache on paper 63 x 48 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 19 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Original crayon, ink & gouache on card 60 x 40 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 20 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Study crayon on paper 64.8 x 49 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Original © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 21 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 22 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 25 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 28 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 29 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 30 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 31 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 32 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 33 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 34 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Study crayon, wash, white Gouache & ink on paper 54 x 38 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Original crayon & white gouache on paper 52 x 39 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 'Documents Décoratifs' Plate 35 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

     Documents Décoratifs continues in Part 7.





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  • 04/16/13--06:06: Alphonse Mucha - part 7

  • Alphonse (Alfons) Mucha (1860 – 1939) was a Czech painter and decorative artist born in 1860 born in the town of Ivančice, Moravia. He is best known for his luxurious poster and product designs, which encapsulate the Art Nouveau style. Contemporary interest in his work was revived in 1980 after an exhibition at the Grand Palais in Paris.

    This is part 7 of a 12-part post on the works of Alphonse Mucha. For biographical notes on Mucha see part 1. For earlier works see parts 1 - 6 also. Part 8 tomorrow.

    Part 7 is the continuation ofThe Documents Décoratifs shown in part 6. Published in 1902 is comprised of 72 plates that exemplify all that the Art Nouveau movement is remembered for, in the decorative forms of women, flowers, natural forms, jewellery etc.Although there are just 72 plates, I am showing associated works or originals alongside the printed  version wherever I've found them.

    1902 'Documents Décoratifs Plate 36 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 38 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 39 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 40 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 41 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 42 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 43 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

     Original crayon & pen on paper 56 x 39 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 44 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 45 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original crayon & ink on paper 43 x 28 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Photographic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 46 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 47 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study crayon on paper © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study crayon & ink on paper 58.1 x 46.7 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 48 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 49 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original crayon & gouache on card 51 x 39 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 50 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study crayon on paper © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original crayon on paper © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 51 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 52 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 53 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 54 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 55 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 56 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 57 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 58 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original crayon & white gouache on card 54.4 x 40.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 59 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 60 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original crayon on card 53 x 34 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 61 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original crayon & gouache on card 52.2 x 39 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 62 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original crayon & gouache on card 49 x 37 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 63 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 64 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original crayon & white gouache on paper 53.3 x 42.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris



    1902 'Documents Décoratifs Plate 65 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris


    Original © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 66 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original wash & white gouache on card 51.2 x 37.8 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 67 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original crayon & white gouache on card 60 x 40 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 68 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 69 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris


    Original © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 70 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original crayon & white gouache on card 56.2 x 47.8 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 71 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1902 'Documents Décoratifs Plate 72 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original crayon & white gouache on card 52 x 39 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris




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  • 04/17/13--01:44: Alphonse Mucha - part 8

  • Alphonse (Alfons) Mucha (1860 – 1939) was a Czech painter and decorative artist born in 1860 born in the town of Ivančice, Moravia. He is best known for his luxurious poster and product designs, which encapsulate the Art Nouveau style. Contemporary interest in his work was revived in 1980 after an exhibition at the Grand Palais in Paris.

    This is part 8 of a 12-part post on the works of Alphonse Mucha. For biographical notes on Mucha see part 1. For earlier works see parts 1 - 7 also. Part 9 tomorrow.

    1902 Poster for 'Art et Decoration' lithograph (also in 'Documents Décoratifs 1902) © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 Poster for 'Carriage Dealers' Exhibition, Philadelphia © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 Poster for 'Cycles Perfecta' lithograph 53 x 35 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 Quo Vadis 213.4 x 213.4 cm (self-portrait) © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 The Moon and Stars © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 The Moon and Stars 'Ètoile du Matin' ( Morning Star) © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 The Moon and Stars 'Ètoile du Soir' (Evening Star) © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 The Moon and Stars 'Ètoile Polaire' (Pole Star) © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 The Moon and Stars 'Ètoile Polaire' study © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 The Moon and Stars 5 'Clair de Lune' (Moonlight) © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1902 The Red Cape oil on canvas 64.8 x 48.8 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Aristide Bergès pastel © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Certificate design © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Cover of 'Ainslee's' Magazine May 1904 (signed Mucha Paris 1903) © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Drawing used on the cover of Ainslee's magazine May 1904 ink & wash 32.5 x 26 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Photographic study for cover of Ainslle's magazine May 1904 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Photographic study for cover of Ainslle's magazine May 1904 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Maruška pastel © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Menu Design for 'Café Martin' New York lithography © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Nude oil on canvas 60 x 40 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Portrait of Madame Deschamps pencil & white chalk on paper © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Portrait of Mme. Mucha with Mistletoe watercolour & gouache 53.3 x 36 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Poster for 'Bleu Deschamps' printed on silk 35 x 51.8 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Poster for 'Lefevre Utile' Biscuits lithograph 72 x 53 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 Poster for 'Zdeňka Černý' lithograph 189 x 110 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 The Girl of Ivancice pencil, charcoal, watercolour, gouache & gold paint on board 43.5 x 20 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1903 The Girl of Ivancice model in Bohemian folk costume in Mucha’s studio, Rue du Val de Grâce, Paris photographic study © Mucha Trust

    c1903 Decorative panel for the Bergè house oil on canvas 38.5 x 85 cm© Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    c1903 Decorative panel for the Bergè house oil on canvas 38.5 x 85 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    c1903 Decorative panel for the Bergè house oil on canvas 40.6 x 156.2 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    c1903 Decorative panel for the Bergè house oil on canvas 40.6 x 82.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1904 Cardinal Farley oil on canvas 220 x 135 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1904 Poster for St Louis World Fair lithograph © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1905 'Weiner Chic' © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1905 Madonna of the Lilies
    In 1902 Mucha was commissioned to  ddecorate a church in Jerusalem dedicated to the Virgin Mary. The project was later cancelled but not before Mucha had created this painting. Mucha called the subject Virgo Purissima and surrounded the heavenly vision of the Madonna with a mass of lilies, symbol of purity.

    Another design for a stained glass window also intended for this project resulted in the 1908 painting ‘Harmony’

    1905 Madonna of the Lilies oil on canvas 24.7 x 18.2 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1905 Madonna of the Lilies study © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1905 Madonna of the Lilies crayon study © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1905 Madonna of the Lilies photographic study c1900 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1905 Madonna of the Lilies study 1903 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1905 Mucha with Madonna of the Lilies © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1905 Mucha’s Figures Decoratives

    Published in by Librairie Centrale des Beaux-Arts, Paris:

    Figures Decoratives © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Figures Decoratives © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Figures Decoratives © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    Figures Decoratives © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1905 Native American Woman with Flowers and Feathers pencil, watercolour & tempera on cardboard 63 x 48 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1905 Portrait of Marushka, Artist's Wife gouache on board 50.7 x 32.1 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1906 Portrait Of Milada Cerny oil on canvas 91.4 x 127 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1906 The Beatitudes
    Illuminations in color by Alphonse Mucha. Published 1906 in the Christmas issue of ‘Everybody’s Magazine’.

    Title page © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    1. "Blessed are the meek for they shall inherit the earth" © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    2. "Blessed are the pure in heart for they shall see God" © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    3. "Blessed are they that mourn for they shall be comforted" © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    4. "Blessed are the merciful for they shall obtain mercy" © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    5. "Blessed are they which are persecuted for righteousness sake for theirs is the Kingdom of heaven" © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

    6."Blessed are the poor in spirit for theirs is the Kingdom of heaven" © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris




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  • 04/18/13--01:34: Alphonse Mucha - part 9

  • Alphonse (Alfons) Mucha (1860 – 1939) was a Czech painter and decorative artist born in 1860 born in the town of Ivančice, Moravia. He is best known for his luxurious poster and product designs, which encapsulate the Art Nouveau style. Contemporary interest in his work was revived in 1980 after an exhibition at the Grand Palais in Paris.

    This is part 9 of a 12-part post on the works of Alphonse Mucha. For biographical notes on Mucha see part 1. For earlier works see parts 1 - 8 also. Part 10 tomorrow.

    1907 Slavia

    In 1907 Mucha was commissioned to design a poster for the mutual insurance company ‘Slavi’. He took his inspiration from the portrait of Josephine Crane Bradshaw (completed 1908) he was working on at the time.

    1908 Portrait of Josephine Crane Bradley as Slavia oil & tempera on canvas 154 x 92.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1907 Poster for 'Slavia Insurance Company' lithograph 61 x 35 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Slavia Certificate © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Slavia Certificate © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Slavia Letter © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1908 'Peche' cromo-lithograph on canvas 106.7 x 74.9 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    n.d (before 1908) Portrait of a Lady oil on canvas 97 x 50 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    n.d Portrait of a Lady study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    c1900 Portrait of a Lady photographic study in Mucha’s studio, Rue du Val de Grâce, Paris © Mucha Trust

    1908 'L'Habitation Pratique' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1908 'L'Habitation Pratique' original © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1908 'L'Habitation Pratique' study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1908 Harmony oil on canvas 136 x 438 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1908 Harmony study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Harmony design for stained glass window

    1908 Tragedy and Comedy

    In 1908 Mucha was commissioned to decorate the interior of the newly renovated New German Theater (later Irving Palace Theater, now demolished) in New York. This included five large decorative panels, the stage curtain, and decorative elements for the foyer, the corridor, the staircase and the auditorium. The central panel was flanked by two vertical panels: Tragedy andComedy.

    New German Theater

    02 Achitect and Builders Magazine showing Mucha's Proscenium panels 'Comedy and Tragedy'

    Study for 'Comedy' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study for 'Comedy' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Photographic study for 'Comedy' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Mucha working on 'Comedy' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study for 'Tragedy' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Photographic study for 'Tragedy' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Photographic study for 'Tragedy' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Photographic study for 'Tragedy' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study for 'Truth' tempera on canvas 38.5 x 128 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study for 'Truth' tempera on canvas 38.5 x 128 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study for 'Truth' tempera on canvas 38.5 x 128 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Mucha working on 'Truth' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Photographic study for 'Truth' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Photographic study for 'Truth' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Photographic study for 'Truth' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Photographic study for 'Truth' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    c1908 Programme cover for The New German Theatre © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1909 Cover of 'The Literary Digest' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1908 Poster 'Leslie Carter' for Melodrama Kassa Theatre Show lithograph © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1910 Mucha Alphabet in 3rd Edition of 'Documents Décoratifs' Plate 204 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1909 Maude Adams as Joan of Arc oil on canvas 208.9 x 76.2 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1910 Programme cover for  the Irving Palace Theatre © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1910 Spring Night oil on canvas 91.4 x 76.8 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1911 'Princess Hyacinth' Ballet-Pantomime lithograph 125.5 x 83.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1911 'Princess Hyacinth' Study ink & watercolour on paper 114 x 84 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1911 Poster for 'Moravian Teachers Choir' lithograph 181.5 x 80 cm cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1911 Poster for 'Moravian Teachers Choir' detail © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1912 The Municipal House, The Mayor’s Lounge

    In 1912 the construction of the Municipal House, a building with a concert hall, gallery, restaurants and several lounges, was completed. Originally. Alphonse Mucha was to have decorated the whole building, but later he was only to decorate the prestigious Lord Mayor’s lounge. Mucha not only designed the pictorial decoration of the ceiling, walls and space above the doors, but also the textiles, ornaments, and all the detailing.


    The Municipal House, Prague photo © Petr Šmerkl, Wikipedia

    The Municipal House, Prague

    The Municipal House, Prague

    The Municipal House, Prague

    The Municipal House, Prague

    The Municipal House, Prague

    The Municipal House, Prague

    The Municipal House, Prague

    The Municipal House, Prague

    1912 Poster for '6th Sokol Festival' lithograph 168.5 x 82.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1912 Poster for 'Lottery of National Unity' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris




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  • 04/19/13--01:44: Alphonse Mucha - part 10

  • Alphonse (Alfons) Mucha (1860 – 1939) was a Czech painter and decorative artist born in 1860 born in the town of Ivančice, Moravia. He is best known for his luxurious poster and product designs, which encapsulate the Art Nouveau style. Contemporary interest in his work was revived in 1980 after an exhibition at the Grand Palais in Paris.

    This is part 10 of a 12-part post on the works of Alphonse Mucha. For biographical notes on Mucha see part 1. For earlier works see parts 1 - 9 also. Part 11 tomorrow.

    1912 – 1928 The Slav Epic

    After spending many years in Paris and America, Mucha returned to Prague in 1910 with the Slav Epic project as his driving ambition. He had arranged funding from the American, Charles Crane, and the work occupied the years 1912 to 1928. The first eleven canvases were displayed in Prague's Klementium in 1919 to great public interest and acclaim. Critical opinion though was hostile,  being out of sympathy with what was seen as its dated nationalism and academic style.


    Various canvases from from the sequence were displayed in both Czechoslovakia and America over the next twenty years producing a similarly ambivalent reaction. Mucha  gifted the Slav Epic to the city of Prague in 1928; ironically, the poster he created to mark the occasion is perhaps more famous than the work itself. 



    1928 The Slav Epic poster

    1928 The Slav Epic poster detail
    The city however, was unwilling to provide a permanent exhibition space for the work and, after a temporary showing in 1935, the canvasses were rolled up and placed in storage. When Mucha died in 1939, his spirit had been broken by what he saw as the failure of his life's great work.

    Not surprisingly, the post-war Communist government had little interest in restoring the series to public display and it was to remain out of view for many years.  In 1950, 11 years after Mucha's death, the epic was transferred to Moravsky Krumlov, near his hometown of Ivancice. Then, in 1963, after nearly 30 years out of sight, the first nine paintings in the series were exhibited and finally, in 1967, the entire Slovanska Epopej returned to public exhibition.

    1912 Bulgarian Tsar Simeon - The Founder of Slavonic Literature tempera on canvas 610 x 810 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1912 Czech King Otakar II Přemysl - The Union of Slavonic Dynasties tempera on canvas 610 x 810 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1912 The Celebration of Svantovit on Rujána - When Gods Fight, Salvation is in the Arts tempera on canvas 610 x 810 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1912 The Introduction of the Slavonic Liturgy in Great Moravia - To Praise the Lord in One’s Native Tongue tempera on canvas 610 x 810 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1912 The Primeval Slavs - Between the Turanian Whip and the Gothic Sword tempera on canvas 610 x 810 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1914 Defence of Sziget against the Turks by Nicholas Zrinsky - The Shield of Christendom tempera on canvas 610 x 810 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1914 The Abolition of Serfdom in Russia - Work in Freedom is the Foundation of a State tempera on canvas 610 x 810 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1914 The Printing of the Bible of Kralice in Ivancice - God Gave us a Gift of Language tempera on canvas 610 x 810 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1916 After the Battle of Vitkov - God Represents Truth, not Power tempera on canvas 405 x 480 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1916 The Meeting of Krizky - Sub Utraque tempera on canvas 620 x 405 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1918 Jan Amos Komensky - A Flicker of Hope tempera on canvas 405 x620 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1918 Petr Chelcicky at Vodnany - Do not repay evil with evil tempera on canvas 405 x 620 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1924 After the Battle of Grunwaldu - The Solidarity of the Northern Slavs tempera on canvas 405 x 610 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1925 The Apotheosis of the Slavs - Slavs for Humanity tempera on canvas 405 x 480 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1925 The Hussite King Jiri z Podebrad - Treaties are to be Observed tempera on canvas 405 x 480 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1926 Holy Mount Athos Sheltering the Oldest Orthodox Literary Treasures tempera on canvas 405 x 480 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1926 The Coronation of the Serbian Tsar Stepan Dusan as East Roman Emperor - The Slavic Code of Lawtempera on canvas 405 x 480 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1926 The Oath of Omladina under the Slavic Linden Tree - The Slavic Revival tempera on canvas 480 x 405 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Mucha at work on The Slav Epic in 1912 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    The Slav Epic on display

    1913 'Regional Exhibition at Ivančice' lithograph 93 x 59 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1913 'Regional Exhibition at Ivančice' photographic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1913 A Woman in a Folk Costume chalk 34 x 28 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1913 Portrait of a Girl © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1914 'The Spring Festival of Song & Music in Prague' Poster © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1914 'The Spring Festival of Song & Music in Prague' photographic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1916 Spring oil on canvas 60.3 x 40.5 (also used on 'Hearst's Internatonal' cover 1922) © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1916 The Slavonic Epic Poem tempera on canvas 610 x 40.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1916 The Slavonic Epic Poem study pastel on paper 52 x 35.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1916 The Slavonic Epic Poem photographic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1917 A Winter Tale oil on canvas 124 x 99 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1917 Libuše oil on canvas 230 x 110 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1918 I Also Believe in God (also used in 1927 on cover of 'JAS') © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    c1918 France Embraces Bohemia oil on canvas 122 x 105 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    c1918 Naše Písen 100 x 138 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    c1918 Naše Písen used on 1924 Calendar © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    c1918 Naše Písen photographic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1919 Christmas in America oil on canvas 81.2 x 76.8 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1919 Jaroslava and Jiri, the Artist's Children oil on canvas 82.8 x 82.8 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1926 Czechoslovakian Banknotes


    The first banknotes were issues of the Austro-Hungarian Bank to which adhesive stamps were affixed. Denominations were of 10, 20, 50, 100 and 1000 korun. Regular banknotes were issued by the Republic of Czechoslovakia between 1919 and 1926, in denominations of 1, 5, 10, 20, 50, 100, 500, 1000 and 5000 korun.


    The Czechoslovak National Bank took over production in 1926, issuing notes for 10, 20, 50, 100, 500 and 1000 korun. The new designs were made by Mucha. The urgency of the task led him to reuse a previous portrait of Josephine Crane Bradley as Slavia for the 100 koruna bill.

    10 Korun banknote

    50 Korun banknote reverse

    50 Korun banknote reverse photographic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    50 Korun banknote

    100 Korun banknote

    500 Korun banknote reverse

    500 Korun banknote

    Study for 50 Korun banknote design © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1920 Cover of childrens book 'Andělíček z Baroku' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1920 Croatian Woman with Apples oil on canvas 76.4 x 67 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1920 Fate oil on canvas 51.5 x 53.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1920 Girl with Loose Hair and Tulips oil on canvas 76.8 x 66.9 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1920 The Artist oil on canvas 54.6 x 57.2 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris


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  • 04/20/13--01:59: Alphonse Mucha - part 11
  • Self-Portrait 1907 oil on canvas 28.5  x 44 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris
    Alphonse (Alfons) Mucha (1860 – 1939) was a Czech painter and decorative artist born in 1860 born in the town of Ivančice, Moravia. He is best known for his luxurious poster and product designs, which encapsulate the Art Nouveau style. Contemporary interest in his work was revived in 1980 after an exhibition at the Grand Palais in Paris.

    This is part 11 of a 12-part post on the works of Alphonse Mucha. For biographical notes on Mucha see part 1. For earlier works see parts 1 - 10 also. Part 12 tomorrow.

    1920 Winter Night oil on canvas 300 x 201 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1920 Winter Night photographic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1920 Winter Night study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1920 Winter Night study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1920 Winter Night study oil on cardboard 73 x 60 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Mucha working on Winter Night © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1920 Young Girl In A Moravian Costume oil on canvas 52.6 x 55.2 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1921 Poster for Mucha Exhibition, Brooklyn Museum watercolour on paper 116 x 70 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1921 Cover for 'Hearst's International' December © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1922 Cover for 'Hearst's International' January © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Photographic Study for 'Hearst's International' January © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1921 Cover for 'Hearst's International' April © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original 1916 Spring oil on canvas 60.3 x 40.5© Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Study for 'Spring' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1922 Cover for 'Hearst's International' May © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Original 1919 oil on canvas (with design added) 50 x 40 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1910 Spring Night oil on canvas 91.4 x 76.8 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1922 Cover for 'Hearst's International' June © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Photographic study for 'Hearst's International' June © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1922 Cover for 'Hearst's International' July © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Photographic study for 'Hearst's International' July © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1922 Original for 'Heart's International' October gouache, crayon & watercolour on paper 40 x 28.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1922 Design for 'Heart's International' gouache, crayon & watercolour 55 x 38 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    n.d. Design for 'Heart's International' watercolour © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1922 Book Cover 'Utok More' 25 x 18 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    c1924-25 Jaroslava Mucha coloured pencils heightened with gouache 51 x 41 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1925 Portrait of Jiri oil on canvas 72 x 65 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1925 Portrait of Jiri photographic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1925 Portrait of the Artist's Daughter Jaroslava  oil on canvas 72 x 65 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1925 Portrait of the Artist's Daughter Jaroslava pencil & gouache on paper © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1926 Poster for the '8th Sokol Festival Prague' lithograph 123 x 82.7 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1927 'De Forest Phonofilm' Poster © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1927 'De Forest Phonofilm' photographic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1927 Cover of 'JAS' (Artwork from 1918) © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    c1930 Portrait of Jaroslava oil on canvas 82 x 65 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    c1930 Portrait of Jaroslava photograhic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    c1930 Portrait of Jaroslava Mucha in Czech National Costume pencil and white paint on paper © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1931 Stained glass window design in Prague’s Gothic St. Vitus cathedral:

    1931 Design for a stained-glass window in St. Vitus Cathedral pen & watercolour on paper 116 x 70 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1931 Design for a stained-glass window in St. Vitus Cathedral

    1931 Design for a stained-glass window in St. Vitus Cathedral detail

    1931 Design for a stained-glass window in St. Vitus Cathedral detail

    1933 Woman with a Burning Candle oil on canvas 78 x 79 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1935 Cover of 'La Vie Bordelaise,

    1936-38 Triptych


    In 1936 Mucha embarked on yet another mammoth project involving a triptych, 'The Age of Wisdom', 'The Age of Love' and 'The Age of Reason'. They were never completely finished:

    1936-38 The Age of Love pencil, watercolour & gouache 30.5 x 35.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1936-38 The Age of Reason pencil & watercolour 30.5 x 35.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1936-38 The Age of Wisdom pencil & watercolour 35 x 32 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    A Study of a Girl pastel 65 x 39 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris
    The following is a small selection of Mucha's works that I couldn't fine dates for, so won't be in chronological order:

    Chansons d'Aïeules (Grandmother's Songs) © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Contemplation © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Envisage crayon 36 x 51.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Four Seasons study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Four Seasons © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Head of a Girl © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Packaging for 'Biscuits' lithograph 30.5 x 22.9 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Portrait of Sarah Bernhardt oil on canvas 146 x 80 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Solitude oil on canvas 61.5 x 35 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    The Enchantress oil on canvas 65.4 x 49.6 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    Untitled watercolour © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris
     The last part in the Alphonse Mucha posts (tomorrow) will look at his photography.


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  • 04/21/13--01:01: Alphonse Mucha - part 12

  • Portrait by A. Tasev Warszawa 1926
    Alphonse (Alfons) Mucha (1860 – 1939) was a Czech painter and decorative artist born in 1860 born in the town of Ivančice, Moravia. He is best known for his luxurious poster and product designs, which encapsulate the Art Nouveau style. Contemporary interest in his work was revived in 1980 after an exhibition at the Grand Palais in Paris.

    This is the final part of a 12-part post on the works of Alphonse Mucha. For biographical notes on Mucha see part 1. For earlier works see parts 1 - 11 also.

    Alphonse Mucha and photography

    Facts on Alphonse Mucha and photography from the Mucha Foundation  http://www.muchafoundation.org

    Mucha began to take photographs in the early 1880s, probably in Vienna, with a borrowed camera. It was not until he had gained some recognition in Paris and sufficient funds that he purchased his first camera. Mucha’s photographic output grew dramatically after his move to a large studio in the rue du Val de Grâce in 1896. In the new studio, where he had considerably more light thanks to large windows and a glass ceiling, he photographed on a virtually daily basis.

    Between 1896 and the early 1900s Mucha made a series of photographs of the models posing for him.  The use of photography as an inexpensive medium for preliminary studies was common among Mucha’s Parisian contemporaries. It was in his studio that that Mucha entertained countless Parisian artists, writers and musicians.  It was also the setting for one of the earliest cinematic projections given by the Lumière brothers, whom Mucha had met in 1895, and for psychic experiments with Camille Flammarion and Albert de Rochas.  In the background of the studies of models, examples of Mucha’s work may be seen, surrounded by his collection of objets d’art, books and furniture, many of which survive to this day. 

    The majority of Mucha’s Parisian photographs were not taken for a specific project – he preferred to improvise a number of poses in front of the camera, creating an archive of variants from which he could select what he considered most suitable for the subject of each new commission.

    1886c Karel Václav Mašek, Czech painter as a student at the Munich Academy of Art © Mucha Trust

    c1892 Self-portrait in his studio, Rue de la Grande Chaumière, Paris © Mucha Trust

    1893 Paul Gauguin © Mucha Trust

    1893 Illustartion from 'Le Petit Français Illustré' employing the Paul Gauguin pose above © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1893 Paul Gauguin © Mucha Trust

    c1893-94  Paul Gauguin playing Mucha’s harmonium in his studio, Rue de la Grande Chaumière, Paris © Mucha Trust

    c1893-94 Mucha, Gauguin, & friends at Rue de la Grande Chaumière, Paris © Mucha Trust

    c1896 Berthe de Lalande, Mucha’s mistress, in Mucha’s studio, Rue du Val de Grâce, Paris © Mucha Trust

    1897 Photographic study © Mucha Trust

    1897 Photographic study © Mucha Trust

    1900 Cover of 'La Medecine' employing the above photographic pose © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    c1897 Mucha's Studio, Mucha’s studio, Rue du Val de Grâce, Paris © Mucha Trust

    c1898 Photographic study © Mucha Trust

    c1898 Amilcare Cipriani, Italian revolutionary and socialist, in Mucha's studio, Rue du Val de Grâce, Paris © Mucha Trust

    1899 Photographic study. Figure employed in the background of the illustration below © Mucha Trust

    1899 'Menu de Pique-Nique' for the 'Almanach de Gourmands © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    c1899 Untitled Female Nude gelatin silver print 13.8 x 8.89 cm © SFMOMA Artists Rights Society (ARS), New York / ADAGP, Paris

    1900 Photographic study © Mucha Trust

    c1900 Mucha’s studio, Rue du Val de Grâce, Paris © Mucha Trust

    c1900 Mucha’s studio, Rue du Val de Grâce, Paris © Mucha Trust

    c1900 Mucha’s studio, Rue du Val de Grâce, Paris © Mucha Trust

    c1900 Mucha’s studio, Rue du Val de Grâce, Paris © Mucha Trust

    c1900 Mucha’s studio, Rue du Val de Grâce, Paris © Mucha Trust

    c1901 Ballet study Rue du Val de Grâce, Paris © Mucha Trust

    c1901 Mucha’s studio, Rue du Val de Grâce, Paris © Mucha Trust

    c1902-03 Mucha’s studio, Rue du Val de Grâce, Paris © Mucha Trust

    c 1903 Marie (Maruška) Chytilová, art student and Mucha’s future wife in his studio, Rue du Val de Grâce, Paris © Mucha Trust © Mucha Trust

    1906 Photographic study for the illustration below © Mucha Trust

    1906 'Everybody's Magazine'© Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris

    1908 Study for a Decorative Panel gelatin silver print 12.4 x 9.9 cm © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study © Mucha Trust

    Photographic study for the illustration below © Mucha Trust

    Illustration from 'Les Chasseurs d'Épaves' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris





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    Following on from the posts on Alphonse Mucha, it seems like an appropriate time to look at these designs that often employed the Art Nouveau style, and borrowed from Mucha in particular.
     
    Leading artists of the 1960s Psychedelic Art movement were San Francisco poster artists such as Wes Wilson, Mouse & Kelly (Stanley Mouse and Alton Kelly), Victor Moscoso, Rick Griffin. Their Psychedelic Rock concert posters were often inspired by the Art Nouveau style (of artists like Alphonse Mucha – indeed his artworks were often reworked in posters), as well as the contemporary Pop Art movement. The "Fillmore Posters" were among the most notable of the time. Richly saturated colours, elaborate ornate lettering, collage elements and distortion were all hallmarks of the  San Francisco psychedelic poster art style that flourished from about 1966 - 1972. Their work also translated into album cover art and all of the aforementioned artists also created album covers.


    Fillmore Auditorium, San Francisco. Photo: Wikimedia Free Media Repository
    The Fillmore Auditorium is an historic music venue in San Francisco California made famous by promoter Bill Graham. Named for its original location at the intersection of Fillmore Street and Geary Boulevard.
     
    In 1968, Graham moved his concerts to a different venue in San Francisco, formerly known as The Carousel Ballroom and El Patio at Market Street and South Van Ness Avenue, that he renamed Fillmore West.

    The original Fillmore Auditorium continued under the name The Elite Club. Graham began presenting concerts at the original Fillmore Auditorium again in the 1980s, but it was closed due to earthquake damage in October 1989. After much structural work, in 1994 the original Geary Boulevard location reopened as The Fillmore.

    In the mid-1960s the Fillmore Auditorium became the focal point for psychedelic music and counter-culture in general. The cultural impact of the Fillmore was very large. It is referenced by Hunter S. Thompson in Fear and Loathing in Las Vegas in a description of the counterculture of the 1960s in the San Francisco Bay area.


    Avalon Ballroom, San Francisco. Photo: Wikimedia Free Media Repository
    The Avalon Ballroom is a music venue, in the Polk Gulch neighbourhood of San Francisco, California. The space operated from 1966 to 1968 and reopened in 2003. Bands were frequently booked to perform at the Avalon on Thursday, Friday and Saturday.
     
    In the 1960s, at the Avalon, two bands typically performed two sets during the evening beginning at about nine o'clock. Many local bands, such as Quicksilver Messenger Service and The Steve Miller Band served as back-up bands, as did the early Moby Grape and headliners such as the The Doors, 13th Floor Elevators, The Butterfield Blues Band and Big Brother and the Holding Company, which Helms organized around singer and performer Janis Joplin in spring 1966. The Avalon lost its lease in November 1968.


    Grande Ballroom, Detroit © www.buildingsofdetroit.com
    The Grande Ballroom is a historic live music venue located at 8952 Grand River Avenue in Detroit, Michigan. The building was designed by Detroit engineer and architect Charles N. Agree in 1928 and originally served as a multi-purpose building, hosting retail business on the first floor and a large dance hall upstairs.During this period the Grande was renowned for its outstanding hardwood dance floor which took up most of the second floor.
    In 1966 the Grande was acquired by high school teacher and local radio DJ Russ Gibb. Gibb was inspired by visiting San Francisco’s Fillmore, and envisioned a similar venue in Detroit for the new psychedelic music and a resource for local teenagers.  Music acts that played at the Grande in the late 60's and early 70's included Pink Floyd, John Coltrane Cream, Led Zeppelin, The Who, Janis Joplin, The MC5, Sun Ra and The Stooges.


     
    Since Gibb closed the Grande as a rock venue in 1972, the building has rarely been used and has fallen into a state of extreme disrepair.


    Fillmore East, New York in the 1960s

    Fillmore East, New York today. Photo: Wikimedia Free Media Repository
    The Fillmore East was rock promoter Bill Graham’s rock venue on Second Avenue near East 6th Street in the East Village neighbourhood in Manhattan, New York City. It was open from March 8, 1968 to June 27, 1971 and featured some of the biggest acts in rock music at the time. The Fillmore East was a companion to Graham's Fillmore Auditorium, and its successor, the Fillmore West, in San Francisco, Graham's home base.
     

    The venue provided Graham with an East Coast counterpart to his existing Fillmore in San Francisco. The Fillmore East quickly became known as "The Church of Rock and Roll," with two-show, triple-bill concerts several nights a week. Graham would regularly alternate acts between the East and West Coast venues. Until early 1971, bands were booked to play two shows per night, at 8 pm and 11 pm, on both Friday and Saturday nights.

    This is part 1 of a 2-part post on psychedelic graphics of the 1960s:

    March 1-2 1966 Artist Gary Grimshaw. Big Brother & the Holding Company at Grande Ballroom, SF © Gary Grimshaw

    April 15-17 1966. Paul Butterfield Blues Band, Jefferson Airplane at Fillmore Auditorium, SF © 1966 Bill Graham

    April 29-30 1966 Artist Wes Wilson. Grass Roots, Sons of Adam, Big Brother & The Holding Company at Avalon Ballroom, SF © Wes Wilson

    April 29-30 1966 Artist Wes Wilson. Jefferson Airplane, Quicksilver Messenger Service, Lightning Hopkins at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    May 6-7 1966 Artist Wes Wilson. Jefferson Airplane, The Yay Walkers at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    May 13-14 1966 Artist Wes Wilson. The New Generation, The Jaywalkers, Charlatans at Fillmore Auditorium SF © 1966 Bill Graham © Wes Wilson

    May 20-21 1966 Artist Wes Wilson. Quicksilver Messenger Service, Final Solution at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    May 20-21 1966 Artists James Gardner & Herb Greene. Jefferson Airplane, Grateful Dead at Fillmore Auditorium, SF © 1966 Bill Graham © James Gardner & Herb Greene

    May 27-29 1966 Artist Wes Wilson. Andy Warhol and His Plastic Inevitable, Velvet Underground,  Mothers, Nico at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    June 3-4 1966 Artist Wes Wilson. Postcard for Quicksilver Messenger Service, Grateful Dead, The Mothers at Fillmore Auditorium © 1966 Bill Graham © Wes Wilson

    June 17-18 1966 Artist Wes Wilson. Postcard for The Wailers, Quicksilver Messenger Service at Fillmore Auditorium © 1966 Bill Graham © Wes Wilson

    June 23 1966 Artist Wes Wilson. Them, Great Society, New Tweedy Brothers at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    June 24-25 1966 Artists Mouse & Kelly. Big Brother & The Holding Company, Quicksilver Messenger Service at Avalon Ballroom, SF © Mouse & Kelly

    July 1-3 1966 Artist Wes Wilson. Grass Roots, Daily Flash, Sopwith Camel at Avalon Ballroom, SF © Wes Wilson

    July 8-9 1966 Artist Wes Wilson. The Mindbenders, The Chocolate Watchband at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    July 22-23 1966 Artist Wes Wilson. Association, Quicksilver Messenger Service, Grass Roots, Sopwith Camel at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    July 22-23 1966 Artists Kelly & Mouse. Jefferson Airplane at Avalon Ballroom, SF © Kelly & Mouse

    July 29-30 1966. 'Trips Festival' Grateful Dead, Big Brother and the Holding Company, Quicksilver Messenger Service, The Daily Flash, and poet Michael McClure in Vancouver, Canada

    August 5-6 1966 Artist Wes Wilson. Love, Everpresent Fullness at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    August 5-7 1966 Artists Mouse & Kelly. Bo Diddley at Longshoremans Hall, Avalon Ballroom, SF © Mouse & Kelly

    August 10 1966 Artist Wes Wilson. Sam the Sham and the Pharaohs at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    August 12-13 1966 Artists Mouse & Kelly. Bo Diddley at Avalon Ballroom, SF © Mouse & Kelly

    August 12-13 1966 Artists Wes Wilson & Herb Green. Jefferson Airplane, Grateful Dead at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson & Herb Greene

    August 19-20 1966 Artist Wes Wilson. Young Rascals, Quicksilver Messenger Service at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    August 26 1966 Artist Wes Wilson. The Beatles, The Cyrkle, The Ronettes, The Reamians at Candlestick Park, SF © Wes Wilson

    August 26-27 1966 Artists Wes Wilson & Herb Greene. 13th Floor Elevators, Grgeat Society, Sopwith Camel at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson & Herb Greene

    September 2-3 1966 Artists Mouse & Kelly. 13th Floor Elevators, Sir Douglas Quintet at Avalon Ballroom, SF © Mouse & Kelly

    September 2-5 1966 Artist Wes Wilson. Jefferson Airplane, Grateful Dead, Quicksilver Messenger Service, Country Joe & the Fish at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    September 9-10 1966 Artist John H. Myers. The Mothers, Oxford Circle at Fillmore Auditorium & Scottish Rites Temple © 1966 Bill Graham © John H. Myers

    September 9-10 1966 Artist Wes Wilson. The Byrds, Wildflower, New Stage Company at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    September 30 & 1 October 1966 Artists Mouse & Kelly, 13th Floor Elevators, Quicksilver Messenger Service at Avalon Ballroom, SF © Mouse & Kelly

    October 7-8 1966 Artist Wes Wilson. Butterfield Blues Band, Jefferson Airplane, Grateful Dead at Winterland, SF © 1966 Bill Graham © Wes Wilson

    October 7-8 1966 Artists Mouse & Kelly. Jim Kweskin Jug Band, Big Brother & The Holding Company at Avalon Ballroom © Mouse & Kelly

    October 14-16 1966 Artist Wes Wilson. Postcard for Butterfield Blues Band, Jefferson Airplane, Big Mama Thornton at Fillmore Auditorium © 1966 Bill Graham © Wes Wilson

    October 15-16 1966 Artists Mouse & Kelly. Big Brother & The Holding Company, Sir Douglas Quintet at Avalon Ballroom, SF © Mouse & Kelly

    October 21-22 1966 Artist Gary Grimshaw. MC5, Prime Movers Blues Band at Grande Ballroom, SF © Gary Grimshaw

    October 21-22 1966 Artist Wes Wilson. Card-Handbill for Grateful Dead, Lightning Hopkins, Loading Zone at Fillmore Auditorium © 1966 Bill Graham © Wes Wilson

    October 28-30 1966 Artist Wes Wilson. Card-Handbill for Captain Beefheart & his Magic Band, Chocolate Watch Band, The Great Pumpkin at Fillmore Auditorium © 1966 Bill Graham © Wes Wilson

    November 3-4 1966 Artists Mouse & Kelly. Grateful Dead, Oxford Circle at Avalon Ballroom, SF © Mouse & Kelly

    November 4-6 1966 Artist Wes Wilson. Muddy Waters Blues Band, Quicksilver Messenger Service, Andrew Staples at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    November 12 1966 Artists Mouse & Kelly. Grateful Dead Anniversary at The Old Cheese Factory, SF © Mouse & Kelly

    November 18-20 1966 Artist Wes Wilson. Grateful Dead, James Cotton Blues Band, Lothar & the Hand People at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    November 25-27 1966 Artist Wes Wilson. Jefferson Airplane, James Cotton Chicago Blues Band, Moby Grape at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    December 9-11 1966 Artist Wes Wilson. Grateful Dead, Big Mama Mae Thornton, Tim Rose, Hey Joe at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    December 20-22 1966 Artist Wes Wilson. Otis Redding & his Orchestra, Grateful Dead, Johnny Talcot and de Thangs, Country Joe and the Fish at Fillmore Auditorium, SF © 1966 Bill Graham © Wes Wilson

    December 20-23 1966 Steve Miller Blues Band, Congress of Wonders at Matrix, SF

    December 23-24 1966 Artist Victor Moscoso. The Grateful Dead. Steve miller Blues Band, Moby Grape at Avalon Ballroom, SF © Victor Moscoso

    December 30-31 1966 Artist Wes Wilson. Postcard for 'New Year Bash' Jefferson Airplane, Grateful Dead, Qucksilver Messenger Service at Fillmore Auditorium © 1966 Bill Graham © Wes Wilson

    January 6-8 1967 Artist Wes Wilson. The Young Rascals, Sopwith Camel, The Doors at Fillmore Auditorium, SF © 1967 Bill Graham © Wes Wilson

    February 3-5 1967 Artist Wes Wilson. Jefferson Airplane, Quicksilver Messenger Servive, Dino Valenti at Fillmore Auditorium, SF © 1967 Bill Graham © Wes Wilson

    February 10 1967. 13th Floor Elevators, Conqueroo at City Coliseum, Austin, Texas

    February 17-18 1967 Artists Kelly & Mouse. Big Brother & the Holding Company at Avalon Ballroom, SF © Mouse & Kelly


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    Leading artists of the 1960s Psychedelic Art movement were San Francisco poster artists such as Wes Wilson, Mouse & Kelly (Stanley Mouse and Alton Kelly), Victor Moscoso, and Rick Griffin. 

    This is part 2 of a 2-part post on psychedelic graphics of the 1960s. For background notes and for earlier works, see part 1 also.

    February 24-26 1967 Artist Wes Wilson. Grateful Dead, Otis Rush Chicago Blues Band, The Canned Heat Blues Band at Fillmore Auditorium, SF © 1967 Bill Graham © Wes Wilson

    March 10-11 1967 Artist David Carlin. Poor Souls at Grande Ballroom, SF © David Carlin

    March 10-11 1967 Artist Victor Moscoso. Postcard for Quick Silver at Avalon Ballroom © Victor Moscoso

    March 30 1967 Artist David Carlin. Scott Richard Case at Grande Ballroom, SF © David Carlin

    April 1-2 1967 Artist Wes Wilson. The Byrds, Moby Grape, Andrew Staples at Fillmore Auditorium, SF © 1967 Bill Graham © Wes Wilson

    April 2-21 1967 Artist Wes Wilson? The Mothers of Invention at Café Au Go Go - Garrick Theatre, NY © Liberty Graphics Ltd

    April 7-9 1967 Artist Wes Wilson. Chambers Brothers, Quicksilver Messenger Service, Sandy Bull at Fillmore Auditorium, SF © 1967 Bill Graham © Wes Wilson

    April 14-16 1967 Artist Peter Bailey. Howlin' Wolf, Country Joe & the Fish, Loading Zone at Fillmore Auditorium, SF © 1967 Bill Graham © Peter Bailey

    April 21-22 1967 Artist Rick Griffin. Quicksilver Messenger Service, Johnny Hammond and His Screaming Nighthawks, Charles Lloyd at Avalon Ballroom, SF © Rick Griffin

    April 28-29 1967 Artist Victor Moscoso. Iron Butterfly at Avalon Ballroom, SF © Victor Moscoso

    May 5-7 1967 Artist Rick Griffin. Postcard for Big Brother & the Holding Company, Sir Douglas Quintet, The Orkustra at Avalon Ballroom © Rick Griffin

    May 12-13 1967 Artist Victor Moscoso. The Doors at Avalon Ballroom, SF © Victor Moscoso

    May 27 1967 Artist Bob Masse. Jefferson Airplane at Richmond Arena, Richmond, Canada © Bob Masse

    June 8-11 1967 Artist Rick Griffin. Big Brother & the Holding Company, Canned Heat, Congress of Wonders at Avalon Ballroom, SF © Rick Griffin

    June 20-25 1967 Artist Clifford Charles Seeley. Jefferson Airplane, Gabor Szabo, Jimi Hendrix at Fillmore Auditorium, SF © 1967 Bill Graham © Clifford Charles Seeley

    June 22-25 1967 Artist Rick Griffin. Charlatans, The 13th Floor Elevators at Avalon Ballroom, SF © Rick Griffin

    June 22-25 1967 Artist Victor Moscoso. Siegal Schwall Band, Miller Blues Band at Avalon Ballroom © Victor Moscoso

    July 14-15 1967 Artist Bob Masse. Grateful Dead at Dantes Inferno © Bob Masse

    August 1-6 1967. Muddy Waters, Buffalo Springfield, Richie Havens, Dan Bruhn’s Fillmore Lights © 1967 Bill Graham

    August 24-27 1967 Artist Robert Fried. Big Brother & the Holding Company, Bo Diddly and Bukka White, The Salvation Army Band at Avalon Ballroom, SF © Robert Fried

    November 3-5 1967 Artist Gary Grimshaw. The Paupers, MC5 at Grande Ballroom © Gary Grimshaw

    November 3-5 1967 Artist Robert Fried. Canned Heat, Lothar & the Hand People, Allmen Joy, Super Ball at Avalon Ballroom, SF © Robert Fried

    November 10 1967 Artist Carl Lundgren. James Cotton, MC5 at Grande Ballroom, Detroit © Carl Lundgren

    November 17-19 1967 Artist William Henry. Postcard for Bo Diddley at Avalon Ballroom © William Henry

    December 8-9 1967 Artist Bob Fried. Canned Heat in Denver, Colorado © Bob Fried

    December 26-30 1967 Artist Carl Lundgren. John Lee Hooker at Grande Ballroom, SF © Carl Lundgren

    September 1-3 1967 Artists Kelly & Mouse. Miller Blues Band, Mother Earth, Bukka White at Avalon Ballroom, SF © Kelly & Mouse

    September 15-17 1967 Artist Victor Moscoso. Young Bloods, The Other Half, Mad River at Avalon Ballroom, SF © Victor Moscoso

    October 6-8 1967 Artist Victor Moscoso. Blue Cheer, Lee Michaels, Clifton Chenier at Avalon Ballroom, SF © Victor Moscoso

    October 13 1967 Artist Gary Grimshaw. Cream in Detroit © Gary Grimshaw

    October 15 & 22 1967 Artists Hapsash. The Who at Saville Theatre, London © Hapsash

    October 27-28 1967 Artist Gary Grimshaw. MC5 at Grande Ballroom, SF © Gary Grimshaw

    January 5-7 1968 Artist Charles Laurens Heald. The Youngbloods, Ace of Cups, John Bauer's Rocking Cloud at Avalon Ballroom, SF © Charles Laurens Heald

    January 26-28 1968 Artists Kelly & Mouse. Postcard for Country Joe and the Fish, Charlatans, Dan Hicks and the Hot Licks at Avalon Ballroom © Kelly & Mouse

    February 10 1968 Artist John Van Hammersveld. Jimi Hendrix Experience, Soft Machine, Electric Flag, Blue Cheer at Shrine Auditorium, LA © John Van Hammersveld

    February 16-18 1968 Artist Bob Schnepf. Quicksilver, Ace of Cups, Flamin Groovies at Avalon Ballroom, SF © Bob Schnepf

    March 8-10 1968 Artist Stanley Mouse. Postcard for Love, Congress of Wonders, Sons of Champlin at Avalon Ballroom © Stanley Mouse

    March 15 1968 Artist Alton Kelly. The Grateful Dead at Carousel Ballroom, SF © Alton Kelly

    March 29-31 1968 Artist Bob Schnepf. Jerry Steig & the Satyrs, Sons Of Champlin, Alex Anders Timeless Bloozband at Avalon Ballroom, SF © Bob Schnepf

    April 11, 12-13 1968 Artist Patrick Lofthouse. Big Brother and the Holding Company, Iron Butterfly, Booker T and the MGs at Fillmore Auditorium and Winterland, SF © 1968 Bill Graham © Patrick Lofthouse

    April 18, 19-20 1968 Artist Patrck Lofthouse. Love, Staple Singers, Roland Kirk at Fillmore Auditorium and Winterland, SF © 1968 Bill Graham © Patrick Lofthouse

    May 10 1968 Artist Fantasy Unlimited. Postcard for Jimi Hendrix Experience at Fillmore East, NY © Fantasy Unlimited

    May 17-19 1968 Artist William Henry. Postcard for Junior Wells, Sons of Champlin, Santana Blues Band at Avalon Ballroom © William Henry

    May 24-26 1968 Artist John Thompson. Postcard for Youngbloods, Kaleidoscope, Hour Glass at Avalon Ballroom © John Thompson

    July 26-28 1968 Artist Lee Conklin. Herd, James Cotton Blues Band, Charles Lloyd Quartet at Fillmore-Carousel, SF © 1968 Bill Graham © Lee Conklin

    October 3-5 1968 Artist Lee Conklin. Canned Heat, Gordon Lightfoot, Cold Blood at Fillmore West, SF © 1968 Bill Graham © Lee Conklin
    The following posters of The Beatles were created by American fashion and portrait photographer Richard Avedon (1923 - 2004). The applied graphics were done by British designer Richard Weigand, who I hung out with in New York in 1969. After a long career in publishing in New York, Richard Weigand is now Art Director of The New York Times.

    1967 © Estate of Richard Avedon © Richard Weigand

    1967 © Estate of Richard Avedon © Richard Weigand

    1967 © Estate of Richard Avedon © Richard Weigand

    1967 © Estate of Richard Avedon © Richard Weigand

    1967 © Estate of Richard Avedon © Richard Weigand

    1968 Poster for 'Hair' the musical. Photograph by Ruspoli-Rodriguez

    1969 June 27 1969 Artist Lee Conklin. Grateful Dead, Hot Tuna at The Barn © Lee Conklin
     

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    c1810-20 Caspar David Friedrich by Gerhard von Kügelgen

    Biographical information from Wikipedia:

    Caspar David Friedrich (1774 – 1840) was born in 1774, in Greifswald, Swedish Pomerania on the Baltic coast of Germany.The sixth of ten children, he was brought up in the strict Lutheran creed of his father Adolf Gottlieb Friedrich, a candle-maker and soap boiler. Caspar David was familiar with death from an early age. His mother, Sophie Dorothea Bechly, died in 1781 when he was just seven.A year later, his sister Elisabeth died,while a second sister, Maria, succumbed to typhus in 1791.Arguably the greatest tragedy of his childhood was the 1787 death of his brother Johann Christoffer: at the age of thirteen, Caspar David witnessed his younger brother fall through the ice of a frozen lake and drown.Some accounts suggest that Johann Christoffer perished while trying to rescue Caspar David, who was also in danger on the ice.

    Friedrich began his formal study of art in 1790 as a private student of artist Johann Gottfried Quistorp at the University of Greifswald. Quistorp took his students on outdoor drawing excursions; as a result, Friedrich was encouraged to sketch from life at an early age.Through Quistorp, Friedrich met and was subsequently influenced by the theologian Ludwig Gotthard Kosegarten, who taught that nature was a revelation of God.Quistorp introduced Friedrich to the work of the German 17th-century artist Adam Elsheimer, whose works often included religious subjects dominated by landscape, and nocturnal subjects.


    Adam Elsheimer "Flight into Egypt 1609 oil on copper 31 x 42 cm
    Four years later Friedrich entered the prestigious Academy of Copenhagen, where he began his education by making copies of casts from antique sculptures before proceeding to drawing from life. Living in Copenhagen afforded the young painter access to the Royal Picture Gallery’s collection of 17th-century Dutch landscape painting. At the Academy he studied under teachers such as Christian August Lorentzen and the landscape painter Jens Juel. These artists were inspired by the Sturm und Drang movement and represented a midpoint between the dramatic intensity and expressive manner of the budding Romantic aesthetic and the waning neo-classical ideal. Mood was paramount, and influence was drawn from such sources as the Icelandic legend of Edda, the poems of Ossian and Norse mythology.


    Christian August Lorentzen  "Silke Saugen" oil on canvas 44.5 x 58.5 cm

    Jens Juel Shore at Vedbaek
    Friedrich settled permanently in Dresden in 1798. He established his reputation as an artist when he won a prize in 1805 at the Weimar competition organised by the writer Goethe. He completed the first of his major paintings in 1807: The Cross in the Mountains. The work was first exhibited on Christmas Day, 1808.Although it was generally coldly received, it was nevertheless Friedrich's first painting to receive wide publicity.


    1807 The Cross in the Mountains oil on canvas 115 x 110.5 cm
    Friedrich was elected a member of the Berlin Academy in 1810, following the purchase of two of his paintings by the Prussian Crown Prince.  Yet in 1816, he sought to distance himself from Prussian authority, and that June applied for Saxon citizenship. The move was unexpected by his friends, as the Saxon government of the time was pro-French, while Friedrich's paintings to date were seen as generally patriotic and distinctly anti-French. Nevertheless Friedrich attained not only citizenship, but in 1818, a place in the Saxon Academy as a member with a yearly dividend of 150 thalers. Although he hoped to receive a full Professorship, it was never awarded him as, according to the German Library of Information, "it was felt that his painting was too personal, his point of view too individual to serve as a fruitful example to students."
    Friedrich married Caroline Bommer in 1818 and they would have three children. Friedrich was acquainted with Philipp Otto Runge, another leading German painter of the Romantic period. He was also a friend of Georg Friedrich Kersting, who painted him at work in his unadorned studio, and of the Norwegian painter Johann Christian Dahl.



    1811 Friedrich's Studio by Georg Friedrich Kersting oil on canvas 54 x 42 cm
    Dahl was close to Friedrich during the artist's final years, and he expressed dismay that to the art-buying public, Friedrich's pictures were only "curiosities".While the poet Zhukovsky appreciated Friedrich's psychological themes, Dahl praised the descriptive quality of Friedrich's landscapes, commenting that "artists and connoisseurs saw in Friedrich's art only a kind of mystic, because they themselves were only looking out for the mystic... They did not see Friedrich's faithful and conscientious study of nature in everything he represented".

    Friedrich's reputation steadily declined over the final fifteen years of his life. As the ideals of early Romanticism passed from fashion, he came to be viewed as an eccentric and melancholy character, out of touch with the times. Gradually his patrons fell away.By 1820, he was living as a recluse and was described by friends as the "most solitary of the solitary".Towards the end of his life he lived in relative poverty and was increasingly dependent on the charity of friends.

    In 1835, Friedrich suffered his first stroke, which left him with minor limb paralysis and greatly reduced his ability to paint.As a result he was unable to work in oil; instead he was limited to watercolour, sepia and reworking older compositions. Although his vision remained strong, he had lost the full strength of his hand. Yet he was able to produce a final 'black painting', Seashore by Moonlight, described by Vaughan as the "darkest of all his shorelines, in which richness of tonality compensates for the lack of his former finesse".



    1835-36 Seashore by Moonlight oil on canvas 73 x 58 cm

     Symbols of death appeared in his other work from this period.Soon after his stroke, the Russian royal family purchased a number of his earlier works, and the proceeds allowed him to travel to Teplitz - in today's Czech Republic - to recover.During the mid-1830s, Friedrich began a series of portraits and he returned to observing himself in nature. As the art historian William Vaughan has observed, however, "He can see himself as a man greatly changed. He is no longer the upright, supportive figure that appeared in Two Men Contemplating the Moon in 1819. He is old and stiff... he moves with a stoop".By 1838, he was capable only of working in a small format. He died in Dresden in 1840.

    This is part 1 of a 2-part post on the works of Caspar David Friedrich:

    1797 Temple with Landscape Ruin oil on canvas

    c1797 Landscape with Pavilion pen, ink, watercolour 16.7 x 21.7 cm

    1798 Wreck in the Arctic Ocean oil on canvas 31.4 x 23.6 cm

    1801 The Woman with the Raven at the Abyss woodcut 16.9 x 11.9 cm

    1802 Study of Heads, Figures and Foliage 20 x 13.2 cm

    1803 Woman with Spider's Web Between Bare Trees woodcut 17 x 12 cm (image)

    1803-04 Young Man Lying on a Grave woodcut 7.8 x 11.3 cm (image)

    1804 Statue of the Madonna in the Mountains graphite and wash 24.4 x 38.2 cm

    1805-06 View from the Artist's Studio pencil & sepia wash 31.4 x 23.5 cm

    1805-06 View of Arkona with Rising Moon and Nets oil on canvas

    1806 Cross in the Mountains

    1806 The Ruins of Eldena watercolour

    1806-09 Self-Portrait black chalk 22.6 x 18 cm

    1807 Dolmen by the Sea pencil & sepia 64.5 x 95 cm

    1807 Fog oil on canvas 34.5 x 52 cm

    1807 Sea Beach with Fisherman oil on canvas 34.5 x 51 cm

    1807 Summer (Landscape with Couple) oil on canvas 71.4 x 103.6 cm

    c1807 Dolmen in Snow oil on canvas 62 x 80 cm

    1808 Bohemian Landscape with Mount Milleschauer oil on canvas 70 x 104 cm

    1808 Morning Fog in the Mountains oil on canvas 27.9 x 104 cm

    1809 Bare Oak Tree pencil 36 x 25.9 cm

    1809 Monk by the Sea oil on canvas 110 x 172 cm

    1810 Landscape in the Riessengebirge oil on canvas 45 x 58.3 cm

    1810 Mountain Landscape with Rainbow oil on canvas 70 x 102 cm

    1810 Rocks and Trees pencil & watercolour 36 x 26 cm

    1810 The Abbey in the Oakwood oil on canvas 110 x 171 cm

    c1810-11 Window Looking over the Park pencil & sepia wash 39.8 x 30.5 cm

    c1810 Landscape with Rainbow] oil on canvas 59 x 84.5 cm

    1811 Port by Moonlight

    1811 Rock Surface

    1811 Winter Landscape oil on canvas 32.5 x 45 cm

    1811-12 The Garden Terrace oil on canvas 53.5 x 70 cm

    c1811 Winter Landscape with Church oil on canvas 33 x 45 cm

    1812 Cross and Cathedral in the Mountains oil on canvas 44.5 x 37.4 cm

    1812 Lime Tree Branch pencil & wash 12.8 x 18 cm

    1812 Old Heroes' Graves oil on canvas 49.5 x 70.5 cm

    1813 Fallen Rocks pencil & watercolour 21 x 17.4 cm

    1813-14 Vision of the Christian Church oil on canvas 66.5 x 51.5 cm

    1814 The Chasseur in the Forest oil on canvas 66 x 47 cm

    1815 Sailing Ship oil on canvas 71 x 49.5 cm

    1815 Ships at Anchor oil on canvas 21 x 30 cm

    1815 The Cross Beside The Baltic oil on canvas 45 x 33.5 cm

    1815-16 Ships in the Harbour at Greifswald oil on canvas 90 x 71 cm

    c1816-17 Neubrandenburg oil on canvas 91 x 72 cm

    1817 Altar Design pencil, ink, watercolour 54.8 x 43.7 cm

    1817 City at Moonrise oil on canvas

    1817 Greifswald in Moonlight oil on canvas 22.5 x 30.5 cm

    1817 Picture in Remembrance of Johann Emanuel Bermer oil on canvas 43.5 x 57 cm

    1817 The Cross in front of a Rainbow in the Mountains ink & watercolour 27.2 x 20.8 cm

    1817 Two Men by the Sea oil on canvas 51 x 66 cm

    c1817-18 Chalk Cliffs on Rügen oil on canvas 90.5 x 71 cm

    1818 Gazebo in Greifswald

    1818 Sailing Boat pencil 33.1 x 24.7 cm

    1818 Study for On the Sailing Boat pencil & wash 36 x 26 cm

    1818 The Cathedral oil on canvas 152.5 x 70.5 cm

    1818 The Marketplace in Greifswald watercolour

    1818 The Wanderer above the Sea Fog oil on canvas 98 x 74 cm
     

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    Georg Friedrich Kersting "Caspar David Friedrich in seinem Atelier" 1819 oil on canvas 51 x 40 cm

    Wikipedia:
    Caspar David Friedrich (1774 – 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation.He is best known for his mid-period allegorical landscapes, which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension"

    This is part 2 of a 2-part post on the works of Caspar David Friedrich. For full biographical notes, and for earlier works, see part 1 also. 

    1818 Woman on the Beach of Rügen

    1818-20 On a Sailing Boat oil on canvas 71 x 56 cm

    1818-20 Woman in a Shawl sepia 35.3 x 20.7 cm

    c1818 Woman in front of the setting sun oil on canvas 22 x 30 cm

    1819 Moonrise by the Sea oil on canvas 135 x 170 cm

    c1819-20 Riesengebirge Landscape with Rising Fog 54.9 x 70.4 cm

    1820 Drifting Clouds

    1820 Megalithic tomb in Autumn

    1820 The Dreamer oil on canvas 27 x 21 cm

    1820 Swans in the Rushes oil on canvas 35.5 x 44 cm

    c1820-21 The Evening oil on canvas 22 x 30.5 cm

    c1820-21 The Morning oil on canvas 22 x 30.5 cm

    1820-22 Meadows near Greifswald oil on canvas 35 x 49 cm

    1820-25 Ship on the River Elbe in the Early Morning Mist oil on canvas 22.5 x 30.8 cm

    1821 Fog in the Elbe Valley oil on canvas 33 x 43 cm

    1822 Moonrise over the Sea oil on canvas 55 x 71 cm

    1822 The Solitary Tree oil on canvas 55 x 71 cm

    1822 Tree of Crows

    1822 Woman at the Window oil on canvas 44 x 73 cm

    1822-23 Morning in the Mountains oil on canvas 135 x 170 cm

    1822-23 Rocky landscape in the Elbe Sandstone Mountains oil on canvas 94 x 74 cm

    1823-24 The Arctic Ocean oil on canvas 126.9 x 96.7 cm

    1823-24 The North Sea in Moonlight oil on canvas 31 x 22 cm

    1824 Dune by the Sea pencil & watercolour 24.7 x 36.5 cm

    1824 Evening oil on canvas 53.3 x 63.5 cm

    1824 Evening with Clouds oil on cardboard 14 x 22.5 cm

    c1824 Hill and Ploughed Field near Dresden oil on canvas 30 x 22 cm

    c1824 Rocky Reef on the Sea Shore oil on canvas 22 x 31 cm

    c1824 The Watzmann oil on canvas 135 x 170 cm

    1825 Cemetery Entrance oil on canvas 143 x 110 cm

    1825 Trees and Shrubs in the Snow oil on canvas

    1825 Woman with Candlestick oil on canvas 71 x 49 cm

    1825-30 Seashore with Shipwreck by Moonlight oil on canvas 77 x 97 cm

    1825-30 The Cemetery Gate oil on canvas 31 x 25 cm

    c1825-30 Two Men Contemplating the Moon oil on canvas 34.9 x 43.8 cm

    1826 Angels in Adoration sepia 18.5 x 26.7 cm

    1826 Graveyard in the Snow oil on canvas 31 x 25 cm

    1826 Spring sepia 19.1 x 27.3 cm

    1826 Summer sepia 19 x 27.1 cm

    1826-27 The Musician's Dream sepia 72 x 51 cm

    1827 Hut Under Snow oil on canvas 31 x 25 cm

    c1827 Oak Tree in the Snow oil on canvas 44 x 34.5 cm

    1828 Early Snow oil on canvas 43.8 x 34.5 cm

    1828 Oak Tree in the Snow

    c1828-30 The Temple of Juno in Agrigento oil on canvas 54 x 72 cm

    c1828 Fir Trees in the Snow oil on canvas 31.3 x 25.4 cm

    c1828 Ships in the Harbour at Night oil on canvas 31 x 25 cm

    1830-35 A Walk at Dusk oil on canvas 33 x 43 cm

    1830-35 Memories of the Sudeten Mountains oil on canvas 73.5 x 102.5 cm

    1830-35 Sunset (Brothers) oil on canvas 25 x 31 cm

    c1830-35 A Walk at Dusk

    c1830-35 Man and Woman Contemplating the Moon oil on canvas 34 x 44 cm

    c1832 The Big Enclosure oil on canvas 73.5 x 102.5 cm

    c1833 Easter Morning oil on canvas 44 x 34 cm

    1834 Flat Country Shank at Bay of Greifswald

    1835 Forest in Autumn oil on canvas 33 x 44 cm

    1835 Mountain Peak with Drifting Clouds oil on canvas 25.1 x 30.6 cm

    after 1835 Doorway in the Fürstenschule Meissen pencil & sepia wash 22.8 x 19.3 cm

    c1835 Memories of the Sudeten Mountains oil on canvas 73.5 x 102.5 cm

    c1835 Stages of Life oil on canvas 72.5 x 94 cm

    c1835 Wreck in the Moonlight oil on canvas 31.3 x 42.5 cm

    1836 Owl in a Gothic Window pencil & sepia wash

    1836-37 Coffin and Grave pencil & sepia 39.2 x 39.4 cm

    1836 Owl on a Grave pencil & sepia wash 25.9 x 22.2 cm

    1837-40 Landscape with Crumbling Wall pencil, ink, watercolour 12.2 x 18.5 cm

    n.d. Pines by the Waterfall oil on canvas 44.2 x 34.8 cm


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    The Festival of Britain was a national exhibition held throughout the United Kingdom in the summer of 1951. This also happened to be the same year they celebrated the centenary, almost to the day, of the 1851 Great Exhibition.

    It was organised by the government to give Britons a feeling of recovery in the aftermath of war and to promote the British contribution to science, technology, industrial design, architecture and the arts. The Festival's centre-piece was in London on the South Bank of the Thames. There were events in Poplar (Architecture), Battersea (The Festival Pleasure Gardens), South Kensington (Science) and Glasgow (Industrial Power). Festival celebrations took place in Cardiff, Stratford-upon-Avon, Bath, Perth, Bournemouth, York, Aldeburgh, Inverness, Cheltenham, Oxford and elsewhere and there were touring exhibitions by land and sea.

    In keeping with the principles of the Festival, a young architect aged only 38, Hugh Casson, was appointed Director of Architecture for the Festival and to appoint other young architects to design its buildings. The main site featured the largest dome in the world at the time, standing 93 feet tall with a diameter of 365 feet. This held exhibitions on the theme of discovery such as the New World, the Polar regions, the Sea, the Sky and Outer Space.


    Adjacent to the Dome was the Skylon, a breathtaking, iconic and futuristic-looking structure. The Skylon was an unusual, vertical cigar shaped tower supported by cables that gave the impression that it was floating above the ground. Some say this structure mirrored the British economy of the time having no clear means of support.


     Another feature was the Telekinema, a 400-seat state-of-the-art cinema operated by the British Film Institute. This had the necessary technology to screen both films (including 3D films) and large screen television. This proved to be one of the most popular attractions at the South Bank site. Once the festival closed, the Telekinema became home to the National Film Theatre and was not demolished until 1957 when the National Film Theatre moved to the site it still occupies at the South Bank Centre. Another building at the Festival site on South Bank was the Royal Festival Hall, a 2,900 seat concert hall that hosted concerts conducted by the likes of Sir Malcolm Sargent and Sir Adrian Bould in its opening concerts.
     
    Even before the Festival opened, the Festival was condemned as a waste of money. Many people believed it would have been better spent on housing after the destruction of many houses during the Second World War. Once opened, the critics turned to the artistic taste; the Riverside Restaurant was seen as too futuristic, the Royal Festival Hall seen as too innovative and even certain furnishings in the Café met criticism for being too gaudy. It was also criticized for being too expensive, with entrance to the Dome of Discovery at five shillings. Even with the above complaints the main Festival site on the South Bank managed to attract more than 8 million paying visitors. Always planned as a temporary exhibition, the Festival ran for 5 months before closing in September 1951. The Festival became associated with the post-war Labour government of Clement Attlee and the South Bank Exhibition was rapidly demolished by the incoming Conservative administration of Winston Churchill.


    Logo designed by Abram Games
     In 1948, two years after being de-mobbed, ‘Official War Poster Artist’, Abram Games (1914-1996), won the competition to design the symbol for the Festival of Britain. His ‘Britannia’ emblem was ubiquitous, versatile and memorable. This was to be a significant event in his six-decade career, establishing him as one of twentieth century Britain’s most respected graphic designers.

    Poster designed by Abram Games

    Guide priced at two shillings & sixpence (12 ½ p)

    Guide to Festval ship Campania price two shillings (10p)

    A leaflet

    Guide to the Pleasure Gardens in Battersea Park

    Guide to the Exhibition of Science in South Kensington

    The same design used on regional  guides - 'Birmingham, Leeds, Manchester, Nottingham'

    2 ½-penny Commemorative stamp featuring Britannia and King George VI

    4-penny Commemorative stamp featuring Abram Games' logo and King George VI

    Festival of Britain first day cover

    Festival of Britain first day cover

    Transport Information poster

    Pre-Festival publicity

    Souvenir programme for the opening of the Royal Festival Hall

    Poster for the Festival Pleasure Gardens in Battersea Park

    Programme for Festival in the London Borough of Camberwell

    Programme for the Festival in Southampton

    Poster for the Festival in Liverpool

    Festival of Britain typeface designed by Phillip Boydell 1951

    Guide, Programme and Calendar, showing the Festival Star Motif by Abram Games. Illustrations by Eric Fraser

    Festival Exhibtion at the Royal Scottish Museum, Edinburgh

    Patons & Baldwins Festival Knitting Book front cover

    Patons & Baldwins Festival Knitting Book back cover


    Festival of Britain Print by Herbert Williams lithograph

    Souvenir glass ashtray and enamel badge from my own collection

    Designer Paul Smith limited edition Festival of Britain watch design © Paul Smith

    Part 2 of this post takes a look at the Festival textiles.

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  • 05/03/13--01:39: Festival of Britain - part 2
  • For background information on the Festival of Britain (1951) see part 1 of this post. Part 2 takes a look at the unusual and innovative approach the Festival designers took with regard to contemporary textiles.

     

    © James Templeton &Co

    Twenty-eight leading manufacturers took part in the Festival of Britain's Festival Pattern Group, which used diagrams of atomic structure to provide design inspiration; a unique project involving X-ray crystallographers, designers and manufacturers. 80 designs were produced in all, including glass, ceramics, metal, plastics, textiles and wallpaper. 

    © James Templeton & Co
     By studying X-ray diffraction photographs of crystals, scientists could calculate the arrangement of atoms within molecules. The resulting diagrams provided the inspiration for the Festival Pattern Group, highlighting the intricacy and beauty of crystal structures.These avante-garde designs stand as a testament to the optimism of the early post-war era and the vibrancy of 1950s design.

    'Copper Aluminium Alloy' © James Templeton & Co
    Tie Fabrics. Sample booklets containing tie fabrics were also on display at the Festival of Britain. All were made of jacquard-woven silk and designed by George Reynolds for Vanners and Fennel, a specialist in fabric for ties and cravats. The company entered spiritedly into the Festival Pattern Group, creating seven crystal structure designs. 

    From a commercial point of view, Vanners and Fennell's jacquard-woven silk ties were one of the successful products in the Festival Pattern Group. One of the few companies still in operation today, Vanners (as they are now known) continue to specialise in jacquard-woven tie silks.

    Tie fabrics designed by George Reynolds for Vanners and Fennel © V&A
    Nylon 8.54c wallpaper ('Cherwell').Although not used at the Festival of Britain, this screen-printed wallpaper features the crystal structure of nylon and was created as part of the Festival Pattern Group. This piece is from the manufacturer's sample book, hence the annotations. The fact that it was given a pattern name - 'Cherwell' - indicates that it was intended for production.

    'Nylon 8.54c wallpaper (Cherwell)' Crystallographer, Charles William Bunn. Designed by William Odell for John Line and Sons © John Line and Sons
    Boric Acid 8.34 Wallpaper. This screen-printed wallpaper was designed by William Odell for John Line and Sons.

    Boric Acid 8.34 Wallpaper © John Line and Sons
    Insulin 8.25 Wallpaper.Crystallographer: Dorothy Hodgkin; designed by Robert Sevant for John Line and Sons. Dorothy Hodgkin's diagram, on which this screen-printed wallpaper is based, was originally published in an article in 'Proceedings of the Royal Society' in 1938. The designer has simplified the pattern by extracting the hexagonal motifs and omitting the rounded triangular forms. This wallpaper was used in the Cinema Foyer at the Exhibition of Science in 1951 and has been re-created for this exhibition.

    Insulin 8.25 Wallpaper © John Line and Sons
    Insulin 8.25 Wallpaper © John Line and Sons © V&A




    Apophyllite 8.30 Lace.This machine-embroidered cotton lace was manufactured by A. C. Gill. 

    Apophyllite 8.30 Lace © A. C. Gill
    Quartz 8.10 Carpet.By Glasgow-based carpet manufacturers, James Templeton.

    Quartz 8.10 Carpet © James Templeton
     Other textiles from the Festival:

    Copper Aluminium Alloy © James Templeton & Co

    Durangite © James Templeton & Co

    Durangite © James Templeton & Co

    Durangite © James Templeton & Co

    Durangite © James Templeton & Co

    Haemoglobin © James Templeton & Co

    Haemoglobin © James Templeton & Co

    Insulin 8.27 wallpaper © V&A

    Mica © James Templeton & Co

    Mica © James Templeton & Co

    Mica © James Templeton & Co

    'Myoglobin 8.46g vynides' nitrocellulose-coated upholstery fabric © V&A

    Afwillite 8.45 dress fabric © V&A

    Horse methaemoglobin 8.23 dress fabrics

    ? ©James Templeton & Co



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    Self-Portrait 1852 (aged approx 16) oil on canvas 55.9 x 48.3 cm
    Lawrence Alma-Tadema (1836 – 1912) was born Laurens Tadema in Dronrijp, Holland in 1836. In 1852 he became a student at the Royal Academy of Antwerp, where he studied under a number of noted practitioners of the Romantic school. At this time his interest in the Ancient World and archaeology came about, and became the driving force in his whole artistic career.

    In 1862 he visited London for the first time, where he saw and was impressed by the Elgin Marbles, as well as some ancient Egyptian artefacts. In 1863 he married Pauline Gressin de Boisgirard, and they honeymooned in Italy, a magnet for most aspiring artists of the time. Whilst in Italy he made several visits to the newly excavated ruins of Pompeii, and kept a photographic record of these visits.

    On returning from Italy the couple moved to Paris, where Tadema met the celebrated art dealer Gambert, who quickly realised the potential of his young Dutch friend. At around this time the painter produced a number of pictures featuring his wife as a model. Pauline died in 1869. At around this time, helped by the connections of Gambert, Tadema’s paintings started to attract attention in London. This was followed by a move to London in 1870, probably motivated by the political instability on the Continent as well as progressing his career.

    In London he took pupils whist he established himself, and in 1871 he married his seventeen year old pupil Laura Epps, daughter of a prosperous doctor who was also an international merchant. This second marriage was enduring and happy, though childless, and Laura became stepmother to his two children by Pauline . Laura was herself an artist of talent, she was an intelligent woman, and her work was not derivative of that of her husband.


    Portrait of Miss Laura Epps c 1871 oil on canvas 51 x 41 cm
    Around this time Laurens Tadema became Lawrence Alma-Tadema, a change which shrewdly moved his name forward in catalogues and exhibitions. He also became a naturalised British Subject. He started to become both commercially and critically successful, with John Ruskin one of the few dissenters.
     
    The Tademas also became well known on the social circuit, shrewdly associating with the wealthy upper middle class society from which his major clients were drawn. In 1883 the family moved from Regents Park to the house in St John’s Wood formerly occupied by Tissot and his mistress Kathleen Newton. Here they held the famous ‘At Homes,’ which were to become a feature of London Society.


    Alma-Tadema in his London studio

    Interior 'Hall of Panels'
    The Tademas loved music, which was a part of these evenings, and among the guests were Paderewski and Tchaikovsky. Other notable guests included the Prince of Wales and Tadema’s great friend Frederic, Lord Leighton, President of the Royal Academy. The house was much extended and featured a magnificent studio with a dome and gallery.
     
    In 1899 Tadema was knighted in the special BirthdayHonours List to celebrate the eightieth birthday of Queen Victoria. A banquet was held on 4th November in celebration of the knighthood of the popular painter. It was attended by a large number of fellow Academicians and friends, and a speech by the great man was received with acclamation.
    In 1902 Tadema was created a member of the Order of Merit, the new honour in the direct gift of the sovereign King Edward VII. By 1905 the critical reputation of the artist had started to decline, and in 1909 Lady Alma-Tadema died.
     
    Lawrence Alma-Tadema continued to paint, but his output decreased, and he died at the Spa in the German town of Weisbaden in June 1912. He left a considerable sum of money to the Royal Academy. 

    This is part 1 0f a 3-part post on the works of Lawrence Alma-Tadema.

    1854 Mary Magdalene oil on paper mounted on panel 31 x 35 cm

    1856 The Blind Beggar oil on canvas 63.5 x 54 cm

    1857 Faust and Marguerite watercolour 45.2 x 50.1 cm

    1859 The Sad Father oil on canvas 68.6 x 86.4 cm

    1859-69c Crossing of the River Berizina, 1812 oil on canvas 39 x 73 cm

    1860 The Death of Hippolytus oil on canvas

    1860s-70s Standing Roman pen & ink, brush & wash 26.6 x 18 cm

    1861 Egyptian Chess Players oil on wood 39.8 x 55.8 cm

    1861 The Education of the Children of Clovis oil on canvas 127 x 176.8 cm

    1861 The Roman Wine Tasters oil on canvas

    1862 Venantius Fortunatus Reading His Poems to Radegonda VI, AD 555 oil on canvas 65 x 83.1 cm

    1863 Interior of the Church of San Clemente, Rome oil on canvas 63.5 x 51 cm

    1863 Pastimes in Ancient Egypt, 3,000 Years Ago oil on canvas 99.1 x 135.8 cm

    1864 Leaving Church in the Fifteenth Century oil on canvas 57.1 x 39.4 cm

    1865 Catullus at Lesbia's oil on wood 39.5 x 54.5 cm

    1865 Egyptian Chess Players oil on wood 39.8 x 55.8 cm

    1865 Gallo-Roman Women oil on canvas 80.6 x 101.6 cm

    1866 A Picture Gallery oil on canvas
    Tadema appears to have painted three versions, over an eight year period, of the theme in the "A Picture Gallery" painting above. Here are the other two:

    1867 A Collector of Pictures at the Time of Augustus oil on wood 71 x 46.4 cm

    1874 The Picture Gallery oil on canvas 219.7 x 166 cm

    1866 Entrance to a Roman Theatre oil on canvas 70.4 x 98.4 cm

    1866 In the Peristylum oil on canvas


    1866 Lesbia Weeping over a Sparrow

    1866 Preparations for the Festivities oil on canvas

    1866 Tibullus at Delia's oil on wood 43.9 x 66 cm

    1867 A Sculpture Gallery in Rome at the Time of Augustus oil on wood 62.2 x 46.9 cm

    1867 Claudius Summoned to the Imperial Throne oil on wood 40.6 x 58.4 cm

    1867 Glaucus and Nydia oil on wood 39 x 64.3 cm

    1867 My Studio oil on wood 42.1 x 54 cm

    1867 Proclaiming Claudius Emperor, Pous XLVIII oil on wood 47 x 61 cm

    1867 Tarquinius Superbus oil on wood

    1868 Portrait of Mme. Bonnefoy and M. Puttemans

    1868 A Roman Art Lover oil on wood 53.3 x 80 cm

    1868 Boating oil on canvas 82.5 x 56.3 cm


    1868 Pheidias and the Frieze of the Parthenon, Athens oil on wood 72 x 110.5 cm

    1868 The Education of the Children of Clovis oil on canvas 127 x 176.8 cm

    1868 The Flower Market oil on wood 42.1 x 58 cm

    1868 The Honeymoon oil on wood

    1868 A Scene from Pompeii / The Siesta oil on canvas 130 x 360 cm

    1868 A Scene from Pompeii / The Siesta oil on canvas 130 x 360 cm

    1868 Woman and Flowers oil on panel 49.8 x 37.2 cm

    1868-69 Pheidias and the Frieze of the Parthenon oil on wood 72.5 x 109 cm

    1869 A Greek Woman oil on canvas 47.1 x 66.7 cm

    1869 An Exedra oil on wood 38 x 59.8 cm


    1869 The Pyrrhic Dance  oil on wood 31 x 81 cm

    1870 A Juggler oil on canvas 78.7 x 49.5 cm

    1870 A Roman Art Lover oil on wood 73.5 x 101.6 cm

    1870 The Vintage Festival oil on canvas 177 x 77 cm

    1870s A Floral Bank oil on canvas 18 x 26.5 cm

    1871 Bacchanale oil on canvas

    1871 From an Absent One watercolour 39 x 26.4 cm

    1871 In the Temple oil on wood 89.5 x 52 cm

    1871 Pottery Painting oil on wood

    1871c Sunday Morning oil on wood 40 x 33 cm

    1872 A Roman Emperor AD 41 oil on canvas 83.8 x 174.2 cm


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    Self-Portrait 1883 oil on canvas 34.5 x 29.7 cm
    Born in Dronrij, Holland, and trained at the Royal Academy of Antwerp, Belgium. He settled in England in 1870 and spent the rest of his life there. He became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky.
    Though admired during his lifetime for his draftsmanship and depictions of classical asubjects, his work fell out of favour after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century English art.

    This is part 2 of a 3-part post on the works of Lawrence Alma-Tadema. For full biographical notes on Tadema, and for earlier works, see part 1 also.

    1872 The Death of the First-Born oil on canvas 79.9 x 124.5 cm

    1872 The Last Roses oil on wood 46 x 38 cm

    1872 This is our Corner (Portrait of Laurense and Anna Alma-Tadema) oil on wood 56.5 x 47 cm

    1873 Cherries oil on canvas 79 x 129.1 cm

    1873 The Dinner oil on wood 16 x 58.3 cm

    1874 Exhausted Maenads after the Dance oil on canvas 59.1 x 132 cm

    1874 Joseph, Overseer of Pharaoh's Granaries oil on wood 33 x 43.2 cm

    1874 Sunny Days oil on canvas 21.5 x 34.2 cm

    1874 The Sculpture Gallery oil on canvas 219.7 x 171.5 cm
     The Sculpture Gallery by Auguste Blanchard after Lawrence Alma-Tadema:



    1874c A Roman Artist pencil & watercolour 29.2 x 29.2 cm

    1875 An Audience at Agrippa's oil on wood 90.8 x 62.8 cm
     Tadema reworked this subject four years later as After the Audience:

    1879 After the Audience oil on wood 91.4 x 66 cm

    1875 Cleopatra oil on canvas 54.6 x 66.7 cm (image)

    1875 Miss Thackeray's Elizabeth oil on wood 39 x 48 cm

    1875c A Bacchante oil on wood 25.8 x 19.7 cm

    1876 94 Degrees in the Shade oil on canvas 35.3 x 21.6 cm

    1876 A Bath oil on canvas 28 x 8 cm

    1876 A Corner of the Gardens of the Villa Borghese oil on canvas 34.9 x 22 cm

    1876 Between Hope and Fear oil on canvas 78.1 x 128.2 cm

    1876 Pleading oil on canvas 21.5 x 33.5 cm

    1876 Potrait of Jules Dalou, his Wife and his Daughter oil on canvas 61 x 30 cm

    1877 A Balneator watercolour 36.5 x 26.5 cm

    1877 Architecture in Ancient Rome oi on copper

    1877 Flora, Spring in the Gardens of the Villa Borghese watercolour 20.3 x 29.9 cm

    1877 Sculptors in Ancient Rome oil on copper

    1878 A Hearty Welcome oil on canvas 30.5 x 92.7 cm

    1878 A Love Missal oil on wood 69.2 x 45.7 cm

    1878 In the Time of Constantine oil on wood 32 x 15.6 cm

    1879 A Garden Altar oil on wood 44.5 x 22 cm

    1879 My Sister is not in oil on wood 40.5 x 31.2 cm

    1879 On the Road to the Temple of Ceres oil on canvas 89 x 53.1 cm

    1879 Poetry oil on wood 35.5 x 23 cm

    1879 Prose oil on wood 35.5 x 23 cm

    1879 Stirgils and Sponges watercolour 31.8 x 14 cm

    1880 A Harvest Festival oil on wood 31.8 x 23.8 cm

    1880 Ave, Caesar! Io, Saturnalia! oil on wood

    1880 Interrupted - a Type of Feminine Beauty oil on wood 43.2 x 30.5 cm

    1880s Antium Seen from Outside the City Walls, Design for Coriolanus watercolour 38.9 x 51.6 cm

    1881 In the Tepidarium oil on wood 24 x 33 cm

    1881 Pandora watercolour 26 x 24.3 cm

    1881 Sappho and Alcaeus oil on wood 66 x 122 cm

    1882 A Parting Kiss oil on canvas 73.5 x 112.5 cm

    1882 An Oleander oil on wood 92.8 x 64.7 cm

    1882 Between Venus and Bacchus watercolour

    1882 Dolce Far Niente oil on wood 23.5 x 15.9 cm

    1882 The Way to the Temple oil on canvas 101.5 x 53.5 cm

    1883 A Street Altar watercolour 34.7 x 17.3 cm

    1883 Anna Alma-Tadema oil on canvas 112 x 76.2 cm

    1883 Antony and Cleopatra oil on canvas 65.4 x 92.1 cm

    1883 Resting oil on wood

    1883 Welcome Footsteps oil on canvas 54.6 x 41.9 cm

    1883 Xanthe and Phaon watercolour 45.1 x 32.4 cm

    1884 A Roman Potter oil on canvas 153 x 80 cm

    1884 Hadrian Visiting a Romano-British Pottery oil on canvas 159 x 171 cm

    1884 Miss Alice Lewis oil on canvas

    1884 The Roman Potters in Britain oil on canvas 76.2 x 119.4 cm

    1884 Who is It? oil on wood

    1885 A Foregone Conclusion oil on wood 31.1 x 22.9 cm


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    Self-Portrait 1896 oil on canvas 52.8 x 65.7 cm
    Born in Dronrij, Holland, and trained at the Royal Academy of Antwerp, Belgium. He settled in England in 1870 and spent the rest of his life there. He became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky.
    Though admired during his lifetime for his draftsmanship and depictions of classical asubjects, his work fell out of favour after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century English art.

    This is part 3 of a 3-part post on the works of Lawrence Alma-Tadema. For full biographical notes on Tadema see part 1. For earlier works see parts 1 - 2 also.

    1885 A Reading from Homer oil on canvas 91.8 x 183.5 cm

    1885 Dr. Washington Epps, My Doctor oil on canvas 64 x 51 cm

    1885 Expectations oil on wood 45 x 66.1 cm

    1885 The Drawing Room at Townshend House watercolour

    1885 The Triumph of Titus AD 71 oil on wood 44.3 x 29.1 cm

    1886 An Apodyterium oil on wood 44.5 x 59.5 cm

    1886 Ask Me no More watercolour

    1886 Mrs Frank D. Millet oil on canvas

    1887 The Secret oil on wood 40.4 x 54.9 cm

    1887 The Women of Amphissa oil on canvas 182.8 x 121.8 cm

    1888 Favourite Poet oil on wood 38.6 x 51.5 cm

    1888 The Roses of Heliogabalus oil on canvas 213.9 x 132.1 cm

    1888c A Priestess of Apollo oil on canvas 34.9 x 29.8 cm

    1889 A Dedication to Bacchus oil on canvas 77.5 x 177.5 cm

    1889 A Silent Greeting oil on wood 56.3 x 48.7 cm

    1889 Master John Parsons Millet oil on canvas

    1890 Bluebells oil on canvas

    1890 Promise of Spring oil on panel 38.1 x 22.5 cm

    1890 The Frigidarium oil on canvas 59.7 x 45.1 cm

    1891 A Kiss oil on canvas 62.9 x 45.7 cm

    1891 An Earthly Paradise oil on canvas 165 x 86.5 cm

    1891 Loves Votaries oil on canvas 87.6 x 165.7 cm

    1892 Comparisons oil on canvas 46 x 61 cm

    1892 Courtship (The Proposal) oil on canvas 39.2 x 35.5 cm

    1892 The Poet Gallus Dreaming oil on wood 23.5 x 16.3 cm

    1893 In my Studio oil on canvas 47 x 61.6 cm

    1893 Unconscious Rivals oil on canvas 45.1 x 62.8 cm

    1894 Spring oil on canvas 179.1 x 80 cm

    1895 A Coign of Vantage oil on canvas 64 x 44.5 cm

    1895 Love's Jewelled Fetter oil on canvas 63.5 x 46.1 cm

    1896 A Difference of Opinion oil on canvas 22.9 x 38.1 cm

    1896 A Family Group  oil on wood 30.5 x 27.9 cm

    1896 Maurice Sens oil on canvas

    1896 The Coliseum oil on wood 112 x 73.6 cm

    1897 Catherine, Duchess of Cleveland oil on canvas 64.8 x 52.1 cm

    1897 Her Eyes are with her Thoughts oil on wood 22.9 x 38.2 cm

    1898 Hero oil on canvas

    1898 The Conversion of Paula by Saint Jerome oil on wood 112.7 x 50.8 cm

    1899 A Listener oil on wood

    1899 Mrs George Lewis and her Daughter Elizabeth oil on wood 76.2 x 68.9 cm

    1899 The Baths of Caracalla oil on canvas 95.3 x 152.3 cm

    1900 Flag of Truce oil on wood 44.5 x 22.2 cm

    1900 Vain Courtship oil on canvas 41.3 x 77.5 cm

    1902 Unwelcome Confidence oil on wood 47.5 x 28.5 cm cm

    1903 Silver Favourites oil on canvas 69.1 x 42.2 cm

    1903 Under the Roof of Blue Ionian Weather oil on wood 55.3 x 120.7 cm

    1904 Among the Ruins oil on canvas 39 x 24 cm

    1904 The Finding of Moses oil on canvas 137.5 x 213.4 cm

    1906 Ask me no More oil on canvas 80.1 x 115.7 cm

    1908 The Golden Hour oil on canvas 35.5 x 33.5 cm

    1909 A Favourite Custom oil on wood 66 x 45.1 cm

    1909 Caracalla and Geta, A Bear Fight in the Coliseum oil on canvas 123 x 154 cm

    1909 Hopeful oil on canvas 86.4 x 33 cm

    1911 When Flowers Return oil on wood 35.5 x 52.1 cm

    1912 Cleopatra at the Temple of Isis at Philae oil on canvas (unfinished) oil on canvas 150.2 x 106.7 cm cm

    1912 Preparation in the Coliseum oil on canvas 79.5 x 153.5 cm

    Date? Courtship oil on canvas 55.9 x 25.4 cm

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    The Wiener Werkstätte, or Vienna Workshops was founded in 1903 by architect Josef Hoffmann and artist Koloman Moser. In 1907, the Wiener Werkstätte began publishing a numbered series of postcards, which would ultimately include nearly 1,000 cards. Many of them were designed to celebrate holidays, such as Christmas and Easter. Fashion, both contemporary and historical, became another popular subject, along with humorous topics and favourite tourist spots of the period.

    All of the major designers who worked for the firm were contributors in this medium including Josef Hoffmann, Oskar Kokoschka, Egon Schiele, and Dagobert Peche. Other noteworthy artists who were active in this area whose names may be less familiar include Moriz Jung, Rudolf Kalvach, Mela Koehler, and Maria Likarz, among others.

    Postcard reverse
     This is part 1 of a 2-part post on Wiener Werkstätte postcards:

    Postkarte no. 18 Urban Janke, Til Eulenspiegel

    Postkarte no. 19 Franz Karl Delavilla

    Postkarte no. 21 Oskar Kokoschka

    Postkarte no. 29 Ruldolf Kalvach

    Postkarte no. 33 Ruldolf Kalvach

    Postkarte no. 66 Moriz Jung

    Postkarte no. 67 Josef Hoffmann

    Postkarte no. 71 Berthold Loffler

    Postkarte no. 78 Oskar Kokoschka

    Postkarte no. 81 Moriz Jung, The Child Prodigy 1907

    Postkarte no. 82 Moriz Jung

    Postkarte no. 85 Rudolf Kalvach

    Postkarte no. 87 Moriz Jung

    Postkarte no. 89 Rudolf Kalvach

    Postkarte no. 90 Rudolf Kalvach

    Postkarte no. 95 Rudolf Kalvach

    Postkarte no. 96 Moriz Jung

    Postkarte no. 99 Rudolf Kalvach, Joys of Motherhood 1907

    Postkarte no. 100 Rudolf Kalvach

    Postkarte no. 107 Rudolf Kalvach

    Postkarte no. 110 Mela Koehler

    Postkarte no. 134 Urban Janke

    Postkarte no. 135 Urban Janke

    Postkarte no. 148 Rudolf Kalvach

    Postkarte no. 151 Fritz Zeymer

    Postkarte no. 167 Remigius Geyling

    Postkarte no. 252 Carl Otto Czeschka

    Postkarte no. 262 Josef Divéky

    Postkarte no. 282 Erich Schmal

    Postkarte no. 288 Egon Schiele

    Postkarte no. 305 Hans Kalmsteiner

    Postkarte no. 309 Unknown Artist

    Postkarte no. 319 Susi Singer

    Postkarte no. 341 Moriz Jung

    Postkarte no. 342 Moriz Jung

    Postkarte no. 343 Moriz Jung

    Postkarte no. 344 Moriz Jung

    Postkarte no. 380 Ludwig Heinrich Jungnickel

    Postkarte no. 381 Ludwig Heinrich Jungnickel

    Postkarte no. 392 Mela Koehler

    Postkarte no. 397 Mela Koehler

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