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artist klimt.ppt

Seema Srivastava
Seema Srivastava

Worked as an assistant to architect Emil Kralik in Vienna and Munich. Studied: Studied at the Munich Academy of Fine Arts and the Academy of Fine Arts in Prague. Influences: Influenced by the Nazarene movement and Symbolism. Poster: Created his first poster in 1894 for a production of Gismonda by Victorien Sardou at the Theatre de la Renaissance in Paris. Style: Developed his distinctive Art Nouveau style with flowing organic lines, pastel colors and decorative motifs inspired by nature. Success: The Gismonda poster brought him great success and

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Art Nouveau (French for 'new art') is an international style of art, architecture and design that peaked in popularity at the beginning of the 20th century (1880-1914) and is characterized by highly- stylized, flowing, curvilinear designs often incorporating floral and other plant-inspired motifs. The name 'Art Nouveau' derived from the name of a shop in Paris, Maison de l'Art Nouveau, at the time run by Siegfried Bing, that showcased objects that followed this approach to design. The style introduced by Bing was not an immediate success in Paris but rapidly spread to Nancy and to Belgium(especially Brussels) where Victor Horta and Henry Van de Velde would make major contributions in the field of architecture and design. In the United Kingdom Art Nouveau developed out of the Arts and Crafts Movement.
Art Nouveau style is a particular form of architecture, art and applied art that is based in organic beauty as opposed to classical, academic art.
Art Nouveau gained popularity in 1890 and was heartily embraced until about 1905, when it fell out of favor. This style of art was characterized by a belief that all of life was art, and as a result, all of life should be treated as an art form. This flew in the face of classic art, which was reserved for the wealthy. This new art philosophy was the art of the people.
Art Nouveau Origins The Art Nouveau movement began with a poster created by Alfons Mucha for the play, Gismonda. The poster Mucha produced became very popular, and soon a new art style burst on the scene, inspired by Mucha's work.
Art Nouveau Elements You can identify Art Nouveau style art and architecture by looking for some specific elements. Flowing Lines: Art Nouveau is characterized by graceful, sinuous lines. The lines are rarely angular. Violent Curves: Some artists referred to the curves in Art Nouveau works as whiplash curves. Rhythmic patterns of curvy lines are characteristic of this art style. These curvy lines connect the images in the art and can even be found in beautified plain items, such as dishes, eating utensils, hardware and furniture. Organic Subject Matter: You'll find plenty of flowers, leaves, vines, grass, seaweed, insects and other organic images in Art Nouveau jewelry, hardware, windows and architecture. Examples include images of birds etched into window frames or curled around each other on fabric for upholstery, or abstract lilies drifting around and connecting to each other on dinnerware. New Materials: Instead of classic gemstones, Art Nouveau jewelers opted to work with opals and semiprecious stones. Glass art reached a new level of popularity as Louis Comfort Tiffany and Charles Rennie Mackintosh took interest in the new art style. Molded glass, animal horns and ivory tusks became commonly used materials. Resistance of Classical Restrictions: Instead of limiting art to painting on a canvas or sculpting out of marble, Art Nouveau artists and architects looked for ways to make everyday objects into pieces of art. A doorknocker might be molded to look like a dragonfly; an entranceway might be graced by vine-like lines in the molding. You can find a classic example of this by studying the entrances designed for the Paris Metro by Hector Guimard.
The most recognizable characteristic of Art Nouveau paintings is the use of curvilinear form. These paintings exhibited sinewy lines that seem to move across the canvas. Think tendrils and vines found in nature.
natural forms are integral to Art Nouveau painting. The flow and curve of flower petals, the dramatic height of lean-stemmed plants and the undulating sweep of windswept landscapes are inspirational to the Art Nouveau style. But these forms are expressed in the abstract; realism is the influence of Art Nouveau but is not the goal in representation.
Symbolist art was influential on Art Nouveau painters. Though you need not search out the symbolic meaning of elements in an Art Nouveau painting to appreciate it, understanding that the distortions of reality (such as elongated figures) are representative of cultural mores does aid in identifying the style.
natural elements, particularly flowers, and beautiful women were dominant elements in Art Nouveau paintings. Both women (and men) and flowers were exaggerated in form. Gustav Klimts paintings best represent this characteristic. His now iconic The Kiss is quintessential Art Nouveau painting.
Art Nouveau painters were also influenced by Asian art and specifically Japanese art. The clean lines combined with intricate scrollwork common to Japanese art are easily recognizable in the Art Nouveau style.
Vase, ca. 1885 Maker: Olivier de Sorra; Factory: Pierrefonds French (Pierrefonds) Stoneware
Hanging cabinet, ca. 1890 mile Gall辿 (French, 1846 1904) French (Nancy) Beechwood, various marquetry woods
Painted in Chicago in 1909, this picture depicts the American actress Maude Adams in the role of Joan of Arc in Schiller's Die Jungfrau von Orleans (The Maid of Orleans), which she performed in translation on June 21, 1909, at Harvard University Stadium. The portrait was made specifically for the one-night gala performance of the play at Harvard and was displayed as a poster for the event. Mucha also designed the costumes and sets and supervised the direction. Afterwards, at the actress' request, the painting served as the lobby poster for the Empire Theater in New York, where Adams regularly performed. The ornate gilded frame was designed by Mucha for that purpose.
artist klimt.ppt
artist klimt.ppt
art nou揃veau noun (often initial capital letters ) Fine Arts. a style of fine and applied art current in the late 19th and early 20th centuries, characterized chiefly by curvilinear motifs often derived from natural forms. GUSTAVE KLIMT
The work of the Austrian painter and illustrator Gustav Klimt, b. July 14, 1862, d. Feb. 6, 1918, founder of the school of painting known as the Vienna Secession, embodies the high-keyed erotic, psychological, and aesthetic preoccupations of turn-of-the-century Vienna's dazzling intellectual world. He has been called the preeminent exponent of ART NOUVEAU.
Gustav Klimt Art Nouveau style
I have the gift of neither the spoken nor the written word, especially if I have to say something about myself or my work. Whoever wants to know something about me -as an artist, the only notable thing- ought to look carefully at my pictures and try and see in them what I am and what I want to do." -Gustav Klimt
Emilie Floge ,1902 Emilie Floge standing hand on hip, in a dress that she designed.
Mother and Child
Bildnis Fritza Riedler 1906
Adele Bloch- Bauer
The Kiss Only the faces and hands of this couple are visible. The rest is great swirl of gold, studded with colored rectangles.
Tree of Life There is a vast amount of detail in this painting. Notice the Egyptian eye sprouting from the branches. There are triangles, swirls, and circles within circles. The colors intensify as you get at the flower garden on the ground.
The Kiss Year 1907 08 Format180 x 180 cm Technique Oil on canvas Location Vienna, Osterreichische Museum f端r Angewandte Kunst Mrs. Gs personal favorite!
M辰da Primavesi (19032000), 1912 Gustav Klimt (Austrian, 1862 1918) Gift of Andr辿 and Clara Mertens, in memory of her mother, Jenny Pulitzer Steiner, 1964 (64.148)
Hope, II. 1907- 08. Gustav Klimt. (Austrian, 1862-1918). Oil, gold, and platinum on canvas, 43 1/2 x 43 1/2" (110.5 x 110.5 cm). Jo Carole and Ronald S. Lauder, and Helen Acheson Funds, and Serge Sabarsky
Hope,II A pregnant woman bows her head and closes her eyes, as if praying for the safety of her child. Peeping out from behind her stomach is a death's head, sign of the danger she faces. At her feet, three women with bowed heads raise their hands, presumably also in prayeralthough their solemnity might also imply mourning, as if they foresaw the child's fate. Why, then, the painting's title? Although Klimt himself called this work Vision, he had called an earlier, related painting of a pregnant woman Hope. By association with the earlier work, this one has become known as Hope, II. There is, however, a richness here to balance the women's gravity. Klimt was among the many artists of his time who were inspired by sources not only within Europe but far beyond it. He lived in Vienna, a crossroads of East and West, and he drew on such sources as Byzantine art, Mycenean metalwork, Persian rugs and miniatures, the mosaics of the Ravenna churches, and Japanese screens. In this painting the woman's gold-patterned robedrawn flat, as clothes are in Russian icons, although her skin is rounded and dimensionalhas an extraordinary decorative beauty. Here, birth, death, and the sensuality of the living exist side by side suspended in equilibrium.
Gustav Klimt Baby (Cradle), 1917/1918 Gift of Otto and Franciska Kallir with the help of the Carol and Edwin Gaines Fullinwider Fund 1978.
Detail of Baby (Cradle)
Portrait of Eugenia Primavesi 1913-1914 Klimt, GustavOil on canvas 140 x 85 cm Toyota Municipal Museum of Art, Toyota City, Japan
Adele Bloch-Bauer I 1907 Oil and gold on canvas, 138 x 138; Austrian Gallery, Vienna Adele Bloch-Bauer clasping her hands (she had a deformed finger). Dressed in gold, surrounded by gold. A very gold picture.
The Maiden 1912 - 13
I have the gift of neither the spoken nor the written word, especially if I have to say something about myself or my work. Whoever wants to know something about me -as an artist, the only notable thing- ought to look carefully at my pictures and try and see in them what I am and what I want to do." Gustav Klimt
Water Serpent I 1904-07 Judith I 1901
Medicine (Hygieia) 1900 07 Format 430 x 300 cm Technique Oil on canvas Location Burned in Schlob Immendorf, Austria, 1945
artist klimt.ppt
artist klimt.ppt
Alphonse Mucha 1860 - 1939
1860 Born at Ivancice in South Moravia, near the city of Brno in the modern Czech Republic. Early years: a choirboy and amateur musician
Early Years 1871 Gains a choral scholarship to the Church of St Peter in Brno, the capital of Moravia. 1875 Returns to Ivancice. His father finds him work as a court clerk. 1878 Applies to the Prague Academy of Fine Arts. His application is turned down with the recommendation: "Find yourself another profession where you'll be more useful". 1879 Goes to Vienna to work as a scene painter for the firm of Kautsky- Brioschi-Burghardt.
1881 1883 Leaves Vienna after being laid off when his employer's best customer, the Ringtheater, burns down in a fire. Goes to Mikulov where he earns a living by painting portraits. Meets Count Khuen Belasi who commissions him to decorate his castle at Emmahof. Moves to Castle Gandegg, Tyrol, where Count Khuen's brother, an amateur artist, becomes Mucha's patron.
artist klimt.ppt
Academics 1885 Begins studies at the Munich Academy of Art, sponsored by Count Khuen's brother. 1887 Moves to Paris to study at the Academie Julian, still under the Count's sponsorship. 1888 Leaves the Academie Julian and becomes a student at the Academie Colarossi. 1889 The Count's sponsorship ends. Leaves the Academie Colarossi and seeks work as an illustrator.
artist klimt.ppt
Paris 1890 Moves to a studio above Madame Charlotte's cremerie at rue de la Grande Chaumiere. Begins to illustrate a theatre magazine, Le Costume au theatre, in which his first drawing of Sarah Bernhardt as Cleopatra appears. 1891 Meets Paul Gauguin at Madame Charlotte's before his journey to Tahiti. Begins work for the publisher Armand Colin, a main source of income. 1892 Commissioned by Colin to illustrate Scenes et Episodes de l'Histoire d'Allemagne by Charles Seignobos 1893 Gaugin returns from Tahiti and shares Mucha's studio in rue de la Grande Chaumi 1894 Designs his first poster for Sarah Bernhardt, Gismonda, a play by Victorien Sardou
Morning Awakening Light of Day Evening Reverie
1895 The poster Gismonda appears in Paris. Mucha signs a 5 year contract with Sarah Bernhardt to produce stage, costume designs, and posters. The firm of Champenois begins to publish Mucha's posters Meets August Strindberg at Madame Charlotte's. Participates in the Lumiere brothers' cinematographic experiments, including a study of plant movements.
1896 Moves to a new studio at rue du Val- de-Gr但ce. Champenois publishes Mucha's first decorative panneaux, The Seasons
1897: Exhibitions One man exhibition at the Bodiniere Gallery, Paris, showing 107 works. One man exhibition at the Salon des Cent, showing 448 works. A special issue of La Plume devoted to it. One man exhibition at the Topic Gallery in Prague
Recognition 1915 Mucha's son Jiri is born 1918 The independent state of Czechoslovakia is created. Mucha designs postage stamps and banknotes 1919 The first eleven canvases of the Slav Epic are exhibited at the Klementinum in Prague and then sent to be exhibited in America 1921 Successful exhibition of Mucha's work at the Brooklyn Museum, New York
1928 The complete cycle of the Slav Epic is officially presented to the Czech people and the City of Prague at the city's Trade Fair Palace. 1934 Promoted to Officier of the L辿gion d'Honneur by the French Government. 1936 A joint exhibition of works by Mucha and Kupka is held at the Mus辿e du Jeu de Paume in Paris. Mucha shows 139 works.
artist klimt.ppt
Late Years 1938 Begins to work on the triptych The Age of Reason, The Age of Wisdom and The Age of Love. 1939 Mucha is among the first to be arrested by the Gestapo when the Germans invade Czechoslovakia. On 14th July, Mucha dies in Prague. He is buried at Vysehrad cemetery. Despite the Nazis banning the public from his funeral, over 100,000 Czechs attend.

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artist klimt.ppt

  • 1. Art Nouveau (French for 'new art') is an international style of art, architecture and design that peaked in popularity at the beginning of the 20th century (1880-1914) and is characterized by highly- stylized, flowing, curvilinear designs often incorporating floral and other plant-inspired motifs. The name 'Art Nouveau' derived from the name of a shop in Paris, Maison de l'Art Nouveau, at the time run by Siegfried Bing, that showcased objects that followed this approach to design. The style introduced by Bing was not an immediate success in Paris but rapidly spread to Nancy and to Belgium(especially Brussels) where Victor Horta and Henry Van de Velde would make major contributions in the field of architecture and design. In the United Kingdom Art Nouveau developed out of the Arts and Crafts Movement.
  • 2. Art Nouveau style is a particular form of architecture, art and applied art that is based in organic beauty as opposed to classical, academic art.
  • 3. Art Nouveau gained popularity in 1890 and was heartily embraced until about 1905, when it fell out of favor. This style of art was characterized by a belief that all of life was art, and as a result, all of life should be treated as an art form. This flew in the face of classic art, which was reserved for the wealthy. This new art philosophy was the art of the people.
  • 4. Art Nouveau Origins The Art Nouveau movement began with a poster created by Alfons Mucha for the play, Gismonda. The poster Mucha produced became very popular, and soon a new art style burst on the scene, inspired by Mucha's work.
  • 5. Art Nouveau Elements You can identify Art Nouveau style art and architecture by looking for some specific elements. Flowing Lines: Art Nouveau is characterized by graceful, sinuous lines. The lines are rarely angular. Violent Curves: Some artists referred to the curves in Art Nouveau works as whiplash curves. Rhythmic patterns of curvy lines are characteristic of this art style. These curvy lines connect the images in the art and can even be found in beautified plain items, such as dishes, eating utensils, hardware and furniture. Organic Subject Matter: You'll find plenty of flowers, leaves, vines, grass, seaweed, insects and other organic images in Art Nouveau jewelry, hardware, windows and architecture. Examples include images of birds etched into window frames or curled around each other on fabric for upholstery, or abstract lilies drifting around and connecting to each other on dinnerware. New Materials: Instead of classic gemstones, Art Nouveau jewelers opted to work with opals and semiprecious stones. Glass art reached a new level of popularity as Louis Comfort Tiffany and Charles Rennie Mackintosh took interest in the new art style. Molded glass, animal horns and ivory tusks became commonly used materials. Resistance of Classical Restrictions: Instead of limiting art to painting on a canvas or sculpting out of marble, Art Nouveau artists and architects looked for ways to make everyday objects into pieces of art. A doorknocker might be molded to look like a dragonfly; an entranceway might be graced by vine-like lines in the molding. You can find a classic example of this by studying the entrances designed for the Paris Metro by Hector Guimard.
  • 6. The most recognizable characteristic of Art Nouveau paintings is the use of curvilinear form. These paintings exhibited sinewy lines that seem to move across the canvas. Think tendrils and vines found in nature.
  • 7. natural forms are integral to Art Nouveau painting. The flow and curve of flower petals, the dramatic height of lean-stemmed plants and the undulating sweep of windswept landscapes are inspirational to the Art Nouveau style. But these forms are expressed in the abstract; realism is the influence of Art Nouveau but is not the goal in representation.
  • 8. Symbolist art was influential on Art Nouveau painters. Though you need not search out the symbolic meaning of elements in an Art Nouveau painting to appreciate it, understanding that the distortions of reality (such as elongated figures) are representative of cultural mores does aid in identifying the style.
  • 9. natural elements, particularly flowers, and beautiful women were dominant elements in Art Nouveau paintings. Both women (and men) and flowers were exaggerated in form. Gustav Klimts paintings best represent this characteristic. His now iconic The Kiss is quintessential Art Nouveau painting.
  • 10. Art Nouveau painters were also influenced by Asian art and specifically Japanese art. The clean lines combined with intricate scrollwork common to Japanese art are easily recognizable in the Art Nouveau style.
  • 11. Vase, ca. 1885 Maker: Olivier de Sorra; Factory: Pierrefonds French (Pierrefonds) Stoneware
  • 12. Hanging cabinet, ca. 1890 mile Gall辿 (French, 1846 1904) French (Nancy) Beechwood, various marquetry woods
  • 13. Painted in Chicago in 1909, this picture depicts the American actress Maude Adams in the role of Joan of Arc in Schiller's Die Jungfrau von Orleans (The Maid of Orleans), which she performed in translation on June 21, 1909, at Harvard University Stadium. The portrait was made specifically for the one-night gala performance of the play at Harvard and was displayed as a poster for the event. Mucha also designed the costumes and sets and supervised the direction. Afterwards, at the actress' request, the painting served as the lobby poster for the Empire Theater in New York, where Adams regularly performed. The ornate gilded frame was designed by Mucha for that purpose.
  • 16. art nou揃veau noun (often initial capital letters ) Fine Arts. a style of fine and applied art current in the late 19th and early 20th centuries, characterized chiefly by curvilinear motifs often derived from natural forms. GUSTAVE KLIMT
  • 17. The work of the Austrian painter and illustrator Gustav Klimt, b. July 14, 1862, d. Feb. 6, 1918, founder of the school of painting known as the Vienna Secession, embodies the high-keyed erotic, psychological, and aesthetic preoccupations of turn-of-the-century Vienna's dazzling intellectual world. He has been called the preeminent exponent of ART NOUVEAU.
  • 19. I have the gift of neither the spoken nor the written word, especially if I have to say something about myself or my work. Whoever wants to know something about me -as an artist, the only notable thing- ought to look carefully at my pictures and try and see in them what I am and what I want to do." -Gustav Klimt
  • 20. Emilie Floge ,1902 Emilie Floge standing hand on hip, in a dress that she designed.
  • 24. The Kiss Only the faces and hands of this couple are visible. The rest is great swirl of gold, studded with colored rectangles.
  • 25. Tree of Life There is a vast amount of detail in this painting. Notice the Egyptian eye sprouting from the branches. There are triangles, swirls, and circles within circles. The colors intensify as you get at the flower garden on the ground.
  • 26. The Kiss Year 1907 08 Format180 x 180 cm Technique Oil on canvas Location Vienna, Osterreichische Museum f端r Angewandte Kunst Mrs. Gs personal favorite!
  • 27. M辰da Primavesi (19032000), 1912 Gustav Klimt (Austrian, 1862 1918) Gift of Andr辿 and Clara Mertens, in memory of her mother, Jenny Pulitzer Steiner, 1964 (64.148)
  • 28. Hope, II. 1907- 08. Gustav Klimt. (Austrian, 1862-1918). Oil, gold, and platinum on canvas, 43 1/2 x 43 1/2" (110.5 x 110.5 cm). Jo Carole and Ronald S. Lauder, and Helen Acheson Funds, and Serge Sabarsky
  • 29. Hope,II A pregnant woman bows her head and closes her eyes, as if praying for the safety of her child. Peeping out from behind her stomach is a death's head, sign of the danger she faces. At her feet, three women with bowed heads raise their hands, presumably also in prayeralthough their solemnity might also imply mourning, as if they foresaw the child's fate. Why, then, the painting's title? Although Klimt himself called this work Vision, he had called an earlier, related painting of a pregnant woman Hope. By association with the earlier work, this one has become known as Hope, II. There is, however, a richness here to balance the women's gravity. Klimt was among the many artists of his time who were inspired by sources not only within Europe but far beyond it. He lived in Vienna, a crossroads of East and West, and he drew on such sources as Byzantine art, Mycenean metalwork, Persian rugs and miniatures, the mosaics of the Ravenna churches, and Japanese screens. In this painting the woman's gold-patterned robedrawn flat, as clothes are in Russian icons, although her skin is rounded and dimensionalhas an extraordinary decorative beauty. Here, birth, death, and the sensuality of the living exist side by side suspended in equilibrium.
  • 30. Gustav Klimt Baby (Cradle), 1917/1918 Gift of Otto and Franciska Kallir with the help of the Carol and Edwin Gaines Fullinwider Fund 1978.
  • 31. Detail of Baby (Cradle)
  • 32. Portrait of Eugenia Primavesi 1913-1914 Klimt, GustavOil on canvas 140 x 85 cm Toyota Municipal Museum of Art, Toyota City, Japan
  • 33. Adele Bloch-Bauer I 1907 Oil and gold on canvas, 138 x 138; Austrian Gallery, Vienna Adele Bloch-Bauer clasping her hands (she had a deformed finger). Dressed in gold, surrounded by gold. A very gold picture.
  • 35. I have the gift of neither the spoken nor the written word, especially if I have to say something about myself or my work. Whoever wants to know something about me -as an artist, the only notable thing- ought to look carefully at my pictures and try and see in them what I am and what I want to do." Gustav Klimt
  • 37. Medicine (Hygieia) 1900 07 Format 430 x 300 cm Technique Oil on canvas Location Burned in Schlob Immendorf, Austria, 1945
  • 41. 1860 Born at Ivancice in South Moravia, near the city of Brno in the modern Czech Republic. Early years: a choirboy and amateur musician
  • 42. Early Years 1871 Gains a choral scholarship to the Church of St Peter in Brno, the capital of Moravia. 1875 Returns to Ivancice. His father finds him work as a court clerk. 1878 Applies to the Prague Academy of Fine Arts. His application is turned down with the recommendation: "Find yourself another profession where you'll be more useful". 1879 Goes to Vienna to work as a scene painter for the firm of Kautsky- Brioschi-Burghardt.
  • 43. 1881 1883 Leaves Vienna after being laid off when his employer's best customer, the Ringtheater, burns down in a fire. Goes to Mikulov where he earns a living by painting portraits. Meets Count Khuen Belasi who commissions him to decorate his castle at Emmahof. Moves to Castle Gandegg, Tyrol, where Count Khuen's brother, an amateur artist, becomes Mucha's patron.
  • 45. Academics 1885 Begins studies at the Munich Academy of Art, sponsored by Count Khuen's brother. 1887 Moves to Paris to study at the Academie Julian, still under the Count's sponsorship. 1888 Leaves the Academie Julian and becomes a student at the Academie Colarossi. 1889 The Count's sponsorship ends. Leaves the Academie Colarossi and seeks work as an illustrator.
  • 47. Paris 1890 Moves to a studio above Madame Charlotte's cremerie at rue de la Grande Chaumiere. Begins to illustrate a theatre magazine, Le Costume au theatre, in which his first drawing of Sarah Bernhardt as Cleopatra appears. 1891 Meets Paul Gauguin at Madame Charlotte's before his journey to Tahiti. Begins work for the publisher Armand Colin, a main source of income. 1892 Commissioned by Colin to illustrate Scenes et Episodes de l'Histoire d'Allemagne by Charles Seignobos 1893 Gaugin returns from Tahiti and shares Mucha's studio in rue de la Grande Chaumi 1894 Designs his first poster for Sarah Bernhardt, Gismonda, a play by Victorien Sardou
  • 48. Morning Awakening Light of Day Evening Reverie
  • 49. 1895 The poster Gismonda appears in Paris. Mucha signs a 5 year contract with Sarah Bernhardt to produce stage, costume designs, and posters. The firm of Champenois begins to publish Mucha's posters Meets August Strindberg at Madame Charlotte's. Participates in the Lumiere brothers' cinematographic experiments, including a study of plant movements.
  • 50. 1896 Moves to a new studio at rue du Val- de-Gr但ce. Champenois publishes Mucha's first decorative panneaux, The Seasons
  • 51. 1897: Exhibitions One man exhibition at the Bodiniere Gallery, Paris, showing 107 works. One man exhibition at the Salon des Cent, showing 448 works. A special issue of La Plume devoted to it. One man exhibition at the Topic Gallery in Prague
  • 52. Recognition 1915 Mucha's son Jiri is born 1918 The independent state of Czechoslovakia is created. Mucha designs postage stamps and banknotes 1919 The first eleven canvases of the Slav Epic are exhibited at the Klementinum in Prague and then sent to be exhibited in America 1921 Successful exhibition of Mucha's work at the Brooklyn Museum, New York
  • 53. 1928 The complete cycle of the Slav Epic is officially presented to the Czech people and the City of Prague at the city's Trade Fair Palace. 1934 Promoted to Officier of the L辿gion d'Honneur by the French Government. 1936 A joint exhibition of works by Mucha and Kupka is held at the Mus辿e du Jeu de Paume in Paris. Mucha shows 139 works.
  • 55. Late Years 1938 Begins to work on the triptych The Age of Reason, The Age of Wisdom and The Age of Love. 1939 Mucha is among the first to be arrested by the Gestapo when the Germans invade Czechoslovakia. On 14th July, Mucha dies in Prague. He is buried at Vysehrad cemetery. Despite the Nazis banning the public from his funeral, over 100,000 Czechs attend.