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As I’ve learned from his biography to his biography (Doig,2009 and SRGF, 2010), Theo van Doesburg was a painter, designer, architect and art critic. He was born in Utrecht, in 1883, as Christian Emil Marie Küpper, but he changed his name to what he believed was his father’s, later adding the “van” part. He first started of as an art critic, soon devoting himself to painting. Until 1913 his style was quite influenced by Vincent van Gogh, but it’s when he read Kardinsky’s magazine Rückblicke that he found a new way of artistic expression: the abstraction. He found a great source of inspiration in similar artist Piet Mondrian, who he finally met in 1916, upon Mondrian’s return from Paris.
It is their common dedication to abstract art that led them to forming a group named De Stijl and a magazine of the same name in 1917. Other members of the group were Vilmos Huszar, Bart van der Leck, Antony Kok, J.J.P. Ouel and George Vantongerloo, but van Doesburg was the main editor and publisher, all up till his sudden death of heart failure in 1931. Best definition of the group interest comes from the Guggenheim Foundation collection sections and De Stijl (SRGF, 2010):"They strove for a universal form that would correspond to their spiritual vision. Neo- Plasticism (meaning a new plastic art) was a term adopted by Mondrian to describe the qualities that De Stijl artist endeavoured to achieve in their work. The essential idea was the creation of a universal aesthetic language based in part on rejection of the decorative excesses of Art Nouveau in favour of a simple, logical style that emphasized construction and function, one that would be appropriate for every aspect of modern life."
“We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a colour, a surface.” (Moszynska, A.,1990, p. 107)
“The word ‘art’ no longer has anything to say to us. In place of that, we (De Stijl) insist upon the construction of our surroundings according to creative laws, deriving from a fixed principle.” (Moszynska, A., 1990, p. 85)
Many would ask why does van Doesburg’s art continuously remain in shadow of Mondrian and he doesn’t receive as much credit as he deserves. The probable answer is that their art was very similar, simple abstracts of diagonal and vertical lines (one thing they often disagreed on); and it should also be noted that Mondrian was already a renown artist at the time. I very much understand Doesburg’s message and intentions, being a fan of abstracts myself. He wanted a viewer to see the image as a whole and not its distinctive part, and embrace the idea and an essence of an image from its depth and emotions.
“It must be emphasized that in seeing a work of art that has been composed by precise means, the viewer does not perceive dominant details. His impression is one of perfect balance to which all the parts contribute, an impression which not only applies to the parts as such, but is transmitted also to the relation existing between the work of art and the viewer.” (Seuphor,M., 1967)
Seuphor (1967) also comments:
"True artistic experience is never passive, for the spectator is obliged to participate, as it were, in the continuous or discontinuous variations of proportions, positions, lines and planes. Moreover, he must see clearly how this play of repeated or non-repeated changes may give rise to a new harmony of relations which will constitute the unity of the work. Every part becomes organized into a whole with the other parts. All the parts contribute to the unity of the composition, none of them assuming a dominant place in the whole."
Fig.1
Doesburg, T. (1925-29) Contra-Compositie XIII [Oil on Canvas]. Peggy Guggenheim Collection, Venice.
Fig. 2 Doesburg, T. (1929) Contre composition simultanee [Oil on Canvas]. San Francisco Museum of Modern Art, San Francisco.
Fig. 3
Doesburg, T. (1919) Komposition mit Dissonanzen [Oil on Canvas]. Kunstmuseum Basel, Basel.
Yet, no matter how much I try, I can’t seem to find a single abstract painting of this type I like. The way I would describe them is simply bland. From his use of colours, to overall composition…just doesn’t impress me. I might find some more appreciation for his other works, such as stained glass, which he designed using the same principle, but trying to bring in additional dimensions into it.
Fig. 4
Doesburg, T. (1916-17) Glas in lood composite I [Stained glass]. Wikimedia commons [Online]. Available at: http://commons.wikimedia.org/wiki/File:Theo_van_Doesburg_Leaded_Glass_Composition_I.jpg (Accessed: 10 May 2010).
Fig. 5
Doesburg, T. (1917) Composition with window with coloured glass III [Stained glass]. Wikimedia commons [Online]. Available at: http://commons.wikimedia.org/wiki/File:Theo_van_Doesburg_-_Composition_with_window_with_coloured_glass_III.JPG (Accessed: 10 May 2010).
Doesburg, T. (1917) Composition with window with coloured glass III [Stained glass]. Wikimedia commons [Online]. Available at: http://commons.wikimedia.org/wiki/File:Theo_van_Doesburg_-_Composition_with_window_with_coloured_glass_III.JPG (Accessed: 10 May 2010).
Fig. 6
Doesburg, T. (1927) Vitrail Fortunam suam quisque parat [Stained glass] Musee d’Art Moderne et Contemporain de Strasbourg, Strasbourg.
Doesburg, T. (1927) Vitrail Fortunam suam quisque parat [Stained glass] Musee d’Art Moderne et Contemporain de Strasbourg, Strasbourg.
With all his energy and versatility, it’s important to mention that he did a lot of writing and typography. For example I’ll take some of his words from Manifesto (1924) that he did for De Stijl magazine, with purpose (aside advertising himself) to spread De Stijl movement and bring in new enthusiasts:
"3. The new architecture is economic; that is to say, it employs its elemental means as effectively and thriftily as possible and squanders neither these means nor the material. these means nor the material.
4. The new architecture is functional; that is to say, it develops out of the exact determination of the practical demands, which it contains within clear outlines.
5. The new architecture is formless and yet exactly defined; that is to (such as confectioners use) in which it produces the functional surfaces arising out of practical, living demands."(Doesburg, T., 1924)
This is a great introduction to one of the things he was most famous for- architecture. What preceded this article is his moving to Weimer in 1921, wanting to work for Bauhaus. He was gathering students in front of the school, teaching (or disturbing) them with his ideas, eventually starting his own De Stijl architecture course.
“He preached geometry and the use of primary colour and the submersion of the individual in the collective, things that later became an integral part of the Bauhaus philosophy.”(Mawer,2010)
"3. The new architecture is economic; that is to say, it employs its elemental means as effectively and thriftily as possible and squanders neither these means nor the material. these means nor the material.
4. The new architecture is functional; that is to say, it develops out of the exact determination of the practical demands, which it contains within clear outlines.
5. The new architecture is formless and yet exactly defined; that is to (such as confectioners use) in which it produces the functional surfaces arising out of practical, living demands."(Doesburg, T., 1924)
This is a great introduction to one of the things he was most famous for- architecture. What preceded this article is his moving to Weimer in 1921, wanting to work for Bauhaus. He was gathering students in front of the school, teaching (or disturbing) them with his ideas, eventually starting his own De Stijl architecture course.
“He preached geometry and the use of primary colour and the submersion of the individual in the collective, things that later became an integral part of the Bauhaus philosophy.”(Mawer,2010)
Fig. 7
Doesburg, T. (1927) Café Aubette, Strasbourg, France [Wood and acrylic]. Museum of Modern Art collection [Online].
Available at: http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A6076&page_number=22&template_id=1&sort_order=1 (Accessed: 10 May 2010).
Doesburg, T. (1927) Café Aubette, Strasbourg, France [Wood and acrylic]. Museum of Modern Art collection [Online].
Available at: http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A6076&page_number=22&template_id=1&sort_order=1 (Accessed: 10 May 2010).
Fig. 8
Doesburg, T. (1924) Maison Particulière [Model]. Wikimedia commons [Online]
Available at: http://commons.wikimedia.org/wiki/File:Van_Doesburg_and_Van_Eesteren_Maison_Particuli%C3%A8re_2.jpg (Accessed: 10 May 2010).
Doesburg, T. (1924) Maison Particulière [Model]. Wikimedia commons [Online]
Available at: http://commons.wikimedia.org/wiki/File:Van_Doesburg_and_Van_Eesteren_Maison_Particuli%C3%A8re_2.jpg (Accessed: 10 May 2010).
For the end, perhaps better to leave unmentioned, one of his most astonishing activities- Dada. While still working on his ideas in Weimar, he organized a Congress of Constructivists and Dadaist.
“To understand Van Doesburg one must understand the marked polarity in his life: De Stijl on the one hand and Dada on the other. From sublime to the ridiculous.” (Mawer, 2010)
He was publishing A Dada magazine Mécano (Mawer,2010) and wrote poetry under the pseudonym I.K. Bonset and anti-philosophical prose under the name Aldo Camini. His identity wasn’t discovered until his death.
Nelly van Moorsel, his wife, is the one responsible for the best promotion of his art and career. In 1931 he had to move to Switzerland due to his deteriorating health, but didn’t make it. He died suddenly of heart attack. De Stijl magazine died with him, as Nelly published the last issue just after his death as a tribute to him.
Have I done enough research to give my final verdict on this man? Could a different approach make me his art more likeable? I guess one of the things that bother me the most about these reformer artists is that they can’t seem to focus on just one thing, perfecting it. This especially applies to Theo van Doesburg, who in my opinion wasted his energy on too many places.
The ideas behind his art are something that has been followed for many years on. He gained quite a few followers and co worked with many likeminded architects, designers and painters. However, his name still didn’t make the impact it should have, and in many ways, he’ll remain in shadow of other avant garde artists.I never liked much his early paintings, nor his first attempts with abstracts. As he moved to stained glass, I’ve noticed the improvement of shapes and overall composition. Some of these I find truly impressive. I can even say that I’ve liked his use of space and colour from what I’ve seen of his architectural and interior design. All in all, I would label him as average, but I wouldn’t ignore his influence on other artists, with his work, writings and teaching.
References:
Mawer, S. (2010) ‘Theo van Doesburg: Forgotten artist of the avant garde’, The Guardian, 23 January [Online]. Available at: http://www.guardian.co.uk/artanddesign/2010/jan/23/theo-van-doesburg-avant-garde-tate (Accessed: 10 May 2010).
Alan Doig (2009) Theo van Doesburg (Christian Emil Marie Küper). Available at: http://www.moma.org/collection/artist.php?artist_id=6076 (Accessed: 10 May 2010).
The Solomon R. Guggenheim Foundation (2010) Theo van Doesburg. Available at: http://www.guggenheim.org/new-york/collections/collections-online/show-full/bio/?artist_name=Theo van Doesburg&page=1&f=Name&cr=1 (Accessed: 10 May 2010).
The Solomon R. Guggenheim Foundation (2010) De Stijl. Available at: http://www.guggenheimcollection.org/site/glossary_De_Stijl.html (Accessed: 10 May 2010).
Moszynska, A. (1990) Abstract Art. London; New York: Thames and Hudson.
Seuphor, M. (1967) Abstract Painting: 50 years of Accomplishment, from Kandinsky to the Present. New York: Abrams.
Theo van Doesburg: Towards a plastic architecture (1924). Available at: http://caad.arch.ethz.ch/teaching/nds/ws96/exercises/nds9606/text/Theo_manifesto.html (Accessed: 10 May 2010).
Mawer, S. (2010) Theo van Doesburg: Forgotten artist of the avant garde. Available at: http://www.guardian.co.uk/artanddesign/2010/jan/23/theo-van-doesburg-avant-garde-tate (Accessed: 10 May 2010).
Image list:
Doesburg, T. (1925-29) Contra-Compositie XIII [Oil on Canvas]. Peggy Guggenheim Collection, Venice. Fig.1
Doesburg, T. (1929) Contre composition simultanee [Oil on Canvas]. San Francisco Museum of Modern Art, San Francisco. Fig. 2
Doesburg, T. (1919) Komposition mit Dissonanzen [Oil on Canvas]. Kunstmuseum Basel, Basel. Fig.3
Doesburg, T. (1916-17) Glas in lood composite I [Stained glass]. Wikimedia commons [Online]. Available at:: http://commons.wikimedia.org/wiki/File:Theo_van_Doesburg_Leaded_Glass_Composition_I.jpg (Accessed: 10 May 2010). Fig. 4
Doesburg, T. (1917) Composition with window with coloured glass III [Stained glass]. Wikimedia commons [Online]. Available at: http://commons.wikimedia.org/wiki/File:Theo_van_Doesburg_-_Composition_with_window_with_coloured_glass_III.JPG (Accessed: 10 May 2010). Fig. 5
Doesburg, T. (1927) Vitrail Fortunam suam quisque parat [Stained glass] Musee d’Art Moderne et Contemporain de Strasbourg, Strasbourg. Fig. 6
Doesburg, T. (1927) Café Aubette, Strasbourg, France [Wood and acrylic]. Museum of Modern Art collection [Online]. Available at: http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A6076&page_number=22&template_id=1&sort_order=1 (Accessed: 10 May 2010). Fig. 7
Doesburg, T. (1924) Maison Particulière [Model]. Wikimedia commons [Online]/ Available at: http://commons.wikimedia.org/wiki/File:Van_Doesburg_and_Van_Eesteren_Maison_Particuli%C3%A8re_2.jpg (Accessed: 10 May 2010). Fig. 8
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Walking through Prague I couldn’t but not notice on every corner and souvenir shop beautiful illustrations and postcards, including lots of handwork, tributes to Czech artist Alphonse Mucha. It’s of course of no surprise, give the fact that he is one of the most influential people in art’s history, many would say the most responsible person for Art Nouveau movement that started around the beginning of the 20th century.
Alphonse (Alfons) Maria Mucha was born in 24th of July 1860 in small town Ivančice, Moravia (SUNY Oswego,2010). Although he has spent his childhood as an amateur musician, that helped him get through high school in Brno, painting had always been his first love. He started working on decorative painting jobs in Moravia, mostly of historical subjects. Doing an impressive work for wealthy Czech count- Karl Khuen of Mikulov, he gained a sponsor for further education at Munich Academy of Fine Arts.
Unfortunately, leaving for Paris in 1887 left him without that financial assistance so he lived practically starving for several years. It was a chance of luck that he stopped by one print shop and saw an advertisement of an urgent need of a poster for Sarah Bernhard’s new play Gismonda, at Theatre de la Renaissance. He produced a lithographed poster within two weeks, so innovative in design, that it immediately became the main attraction in Paris. From than on the style was referred to as Mucha Style, later known as Art Nouveau.
Fig. 1
Mucha, A. (1895) Gismonda [Lithograph] Art Renewal Center [Online]. Available at: http://www.artrenewal.org/pages/artwork.php?artworkid=4431&size=large (Accessed: 8 May 2010).
“Now, when Art Nouveau posters are a staple of fashionable interior decoration, it is difficult to appreciate the impact of Mucha’s Gismonda, in many ways the most impressive poster he ever produced. In 1895 its distinctive shape, muted colouring and exquisitely simplified draughtsmanship, allied to a Byzantine richness of decoration, were completely novel. The poster’s obvious merit, together with the publicity value of anything or anybody connected with Bernhardt, ensured that within a week, Mucha was the most talked about artist in Paris” (Henderson, 1980, p 10)
“. . . he succeeded in creating a poster so different from others on the billboards, both in design and colouring, that from the beginning he was considered not a follower but equal to the best artists of the period.” (Dvorak, A. 1980, p 134)
Sarah Bernard was so impressed with his work that she offered him a 6 year contract. It was the beginning of his lucrative career. He was designing jewelry, carpets, advertisements… but what was most popular with admirers of his “Mucha Style” was a set of panels he published in 1902 called panneaux décoratifs, usually printed on silk and which could’ve been used to decorate houses.
Fig. 2
Mucha, A. (1896) Autumn [Panel] Art Renewal Center [Online].
Available at: http://www.artrenewal.org/artwork/598/598/4426/autumn-large.jpg (Accessed: 8 May 2010).
“This was Mucha’s first set of decorative panels and remains one of his most popular. In fact it was so popular that Mucha was asked by Champenois to produce at least two more sets based on the same theme in 1897 and 1900. Designs for further two sets also exist. The theme lends itself well to personification and Mucha captures the moods of the seasons: innocent Spring, sultry Summer, fruitful Autumn to perfection.” (Mucha Foundation, 2010)
Fig. 3
http://www.artrenewal.org/pages/artwork.php?artworkid=4425&size=large (Accessed:8 May 2010).
Fig. 4
Mucha, A. (1896) Winter [Panel] Art Renewal Center [Online] Available at:
http://www.artrenewal.org/pages/artwork.php?artworkid=4423&size=large (Accessed: 8 May 2010).
Mucha, A. (1896) Spring [Panel] Art Renewal Center [Online] Available at:
http://www.artrenewal.org/pages/artwork.php?artworkid=4424&size=large (Accessed: 8 May 2010).
Certainly a highlight of his career was the 1900 Universal Exhibition in Paris, where he designed the Bosnia and Herzegovina Pavilion. With help of a goldsmith partner he created jewelry for his designs, amongst which probably the most famous piece is the one he did for Sarah Bernard. He gained many followers as the Art Nouveau started to spread, but he was never too much fond of being labeled as an artist of a certain type and movement. He merely created art, which was unaware of the time and commerciality.
“His way was based on strong composition, serious curves, derived from nature, refined decorative elements and natural colors, The Art Nouveau precepts were used, too, but never on the expense of his vision.” (Vadeboncoeur, J.,1999)
It was about time when he considered changing direction in his art. In fact, he always felt a strong pull to his origins and great patriotism for Czech (Vadeboncoeur, J.,1999). But unfortunately during his visit to Prague in 1902 he was all but welcomed, not to mention revolt and criticism when he was commissioned to do the decorations for the New Municipal Building. Apparently Czech had a certain feeling that he was betraying his own nation, considered him more of French, which in many ways, hurt him deeply. Jiri Mucha, definitely his greatest admirer and “defender”, greatly responsible for revival of his father’s work and legacy through last century, simply commented on this:
“This was the great paradox of Czech nationalism. In its blindness and thinly-veiled chauvinism it branded every demonstration of personality as non-Czech, since from the frog’s-eye view of its own puddle such manifestations had certainly very little to do with Czech reality.” (Mucha, J. 1966, p. 198)
Mucha moved to America in 1906, where he was fortunate enough get a support from a millionaire Charles R. Crane to finance his biggest and ambitious project: The Slav Epic, which is a series of paintings about Czech history and Slavic people. To say that he worked on it for nearly 20 years shouldn’t come as a surprise as it contains 20 pictures, amongst which the biggest one is 8 meters by 6 meters. Some of the painting were first displayed in America, but were given to Czechoslovakian people in 1928.
Fig. 6
Mucha, A. (1912) The Celebration of Svantovit: When Gods are at War, Salvation is in the Arts [Oil] The Slav Epic: The Magnum Opus of Alphonse Mucha [Online]. Available at:http://www.pricejb.pwp.blueyonder.co.uk/slav-epic/02.htm (Accessed: 8 May 2010).
The reactions to the paintings were quite negative, but that was largely due to the political scene in Czechoslovakia at the time. It was a mix of communist, fascist, social- democrats… Jiri Mucha quoted Brabcova:
“The public of Mucha’s homeland received the Epic with mixed emotions, one can even say with disfavor for the most part. They looked at it as a work whose ideas and intentions were out of tune with the time of its origin. But they were aware of the sincerity and the honest effort that went into the creation of the whole series. It came to be viewed as one of those controversial artistic errors which make us feel both respect and pity for the amount of work expended on it... “ (Mucha, J. 1966, p 277)
Even he himself didn’t especially approve his father’s work:
"A certain negative reaction which I share to some of father’s later work cannot be ascribed to the message which he put in it but to its insufficient artistic execution. Like Tolstoy, he sacrificed form to didactic content. His professional skill was such that he no longer needed to solve any problem of color or line but just keep pushing his fixed idea on the people: solidarity between nations whose historic misfortunes had been the result of permanent discord. He believed that the time had come for the Slavonic element to steer the course of history. . . He was, to me, a sinister warning against the mistake an artist should never commit. But I must stress that I am speaking here only of one aspect—of a few of his pictures from his later period. "( Mucha, J. 1966 ,p 286)
To all that, I have but only one conclusion: the only important thing in art is to create. And whatever you create, you will always be judged and receive criticism, positive or negative. It is a risk of bringing new ideas to life, especially when trying to waken the public senses to some more sensible issues. As for my opinion on The Slavic Epic I’ll be free to quote Mucha himself:
“I am convinced that the development of every nation may proceed with success only if it grows organically and continuously form the nation’s own roots and that for the preservation of this continuity, knowledge of its historical past is indispensible.” (Mucha, S. 2008).Mucha’s art inspires me a great deal. There is something about his art I found profoundly beautiful, perhaps it’s the use of light pastel colors, beautiful women in almost some dreamy like scenery, flowers in the background, often creating some new shapes and effects, like aureoles behind their heads. His illustrations, posters and panels that are now sold in forms of cups, diaries, postcards etc., and hundreds of tourists struggling to pick their favorite one, speaks of the power of his art, his legacy. There are many illustrators and artist today who acknowledge his work and are inspired by it. Every now and then, we can see his influence on some album cover, comic book or proud portfolio of a “newly born” artist. I was never the type who listens to critics or reads subjective art history books. I have visions of beauty and value of art of my own. And this is what I like:
Fig. 7
Muha, A. (1897) Monaco Monte Carlo [Lithograph] Art Renewal Center [Online] Available at: http://www.artrenewal.org/pages/artwork.php?artworkid=4413&size=large (Accessed: 8 May 2010).
Muha, A. (1897) Monaco Monte Carlo [Lithograph] Art Renewal Center [Online] Available at: http://www.artrenewal.org/pages/artwork.php?artworkid=4413&size=large (Accessed: 8 May 2010).
Fig. 8
Mucha, A. (1898) Medee [Lithograph] Art Renewal Center [Online] Available at: http://www.artrenewal.org/pages/artist.php?artistid=598&page=1 ( Accessed: 8 May 2010).
Fig. 9
Mucha, A. (1897) Bieres de la Meuse [Lithograph] Art Renewal Center [Online] Available at: http://www.artrenewal.org/pages/artwork.php?artworkid=4429&size=large (Accessed: 8 May 2010).
Mucha, A. (1897) Bieres de la Meuse [Lithograph] Art Renewal Center [Online] Available at: http://www.artrenewal.org/pages/artwork.php?artworkid=4429&size=large (Accessed: 8 May 2010).
Fig. 10
Mucha, A. (1898) Dance [Lithograph] Art Renewal Center [Online]. Available at: http://www.artrenewal.org/pages/artwork.php?artworkid=4417&size=large (Accessed: 8 May 2010).
Mucha, A. (1898) Dance [Lithograph] Art Renewal Center [Online]. Available at: http://www.artrenewal.org/pages/artwork.php?artworkid=4417&size=large (Accessed: 8 May 2010).
References:
State University of New York at Oswego (2010) Alphonse Mucha. Available at: http://www.oswego.edu/graphics-projects/art317/mucha2/ (Accessed: 8 May 2010).
Henderson, A. (1980) ‘Women and Flowers: The Life and Work of Alphonse Mucha’, in Bridges, A. (ed.) Alphonse Mucha: The Complete Graphic Works. New York: Harmony.
Dvorak, A. (1980) ‘Illustrations for Books and Periodicals’ in Bridges, A. (ed.) Alphonse Mucha: The Complete Graphic Works. New York: Harmony.
Mucha Foundation (2010) Autumn 1896. Available at: http://www.muchafoundation.org/MIMGDetail.aspx (Accessed: 8 May 2010).
Vadeboncoeur, J. Jr. (1999) Mucha. Available at: http://bpib.com/illustrat/mucha.htm (Accessed: 8 May 2010).
Mucha, J. (1966) Alphonse Mucha: His Life and Art. New York: St. Martin’s Press.
Mucha, S. (2008) Alphonse Mucha. London: Frances Lincoln Publishers Ltd.
Image list:
Mucha, A. (1895) Gismonda [Lithograph] Art Renewal Center [Online]. Available at: http://www.artrenewal.org/pages/artwork.php?artworkid=4431&size=large (Accessed: 8 May 2010). Fig. 1
Mucha, A. (1896) Autumn [Panel] Art Renewal Center [Online]. Available at: http://www.artrenewal.org/artwork/598/598/4426/autumn-large.jpg (Accessed: 8 May 2010). Fig. 2
Mucha, A. (1896) Summer [Panel] Art Renewal Center [Online] Available at:
http://www.artrenewal.org/pages/artwork.php?artworkid=4425&size=large (Accessed:8 May 2010). Fig. 3
Mucha, A. (1896) Winter [Panel] Art Renewal Center [Online] Available at:
http://www.artrenewal.org/pages/artwork.php?artworkid=4423&size=large (Accessed: 8 May 2010). Fig. 4
Mucha, A. (1896) Spring [Panel] Art Renewal Center [Online] Available at:
http://www.artrenewal.org/pages/artwork.php?artworkid=4424&size=large (Accessed: 8 May 2010). Fig. 5
Mucha, A. (1912) The Celebration of Svantovit: When Gods are at War, Salvation is in the Arts [Oil] The Slav Epic: The Magnum Opus of Alphonse Mucha [Online]. Available at:
http://www.pricejb.pwp.blueyonder.co.uk/slav-epic/02.htm (Accessed: 8 May 2010).Fig. 6
Muha, A. (1897) Monaco Monte Carlo [Lithograph] Art Renewal Center [Online] Available at: http://www.artrenewal.org/pages/artwork.php?artworkid=4413&size=large (Accessed: 8 May 2010). Fig. 7
Mucha, A. (1898) Medee [Lithograph] Art Renewal Center [Online] Available at: http://www.artrenewal.org/pages/artist.php?artistid=598&page=1 ( Accessed: 8 May 2010). Fig .8
Mucha, A. (1897) Bieres de la Meuse [Lithograph] Art Renewal Center [Online] Available at: http://www.artrenewal.org/pages/artwork.php?artworkid=4429&size=large (Accessed: 8 May 2010). Fig. 9
Mucha, A. (1898) Dance [Lithograph] Art Renewal Center [Online]. Available at:
http://www.artrenewal.org/pages/artwork.php?artworkid=4417&size=large (Accessed: 8 May 2010). Fig .10