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By Patrick Bade

Born in 1860 in a small Czech city, Alphonse Mucha (1860-1939) was once an artist at the leading edge of paintings Nouveau, the modernist circulate that swept Paris within the 1910s, marking a go back to the simplicity of usual kinds, and altering the area of paintings and layout endlessly. in truth, paintings Nouveau was once recognized to insiders because the “Mucha kind” for the legions of imitators who tailored the master’s celebrated tableaux. this present day, his work have encouraged album covers, comedian books, and every thing in among. Patrick Bade and Victoria Charles supply readers an inspiring survey of Mucha’s profession, illustrated with over 100 of lustrous pictures, from early Parisian ads and posters for Sandra Bernhardt, to the recognized old work of art painted ahead of his loss of life, on the age of seventy eight, in 1939.

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Beautiful coloured porcelain vases were a credit to the Herend Factory. Miklos Zsolnay excelled in metallic reflections: in the polychrome surface of the vestibule leading to the recently created Museum of Applied Arts, the reddish-gold reflections of his glazed bricks produced a magnificent fiery effect. BapoportÊs new copper enamel work in blues and pinks was also exquisite and extremely fine. There was too little on display from Bohemia, but it showed the same dual tendencies and BohemiaÊs School of Decorative Arts still wavered between them.

The Austrian Pavilion Austrian art contrasted sharply with that of northern Germany. Whereas northern GermanyÊs art was often severe and dreary, labouring under an excessive burden of discipline, Austrian art was rather pleasant and feminine. Monaco Monte Carlo (detail), 1897. 5 cm. The Mucha Trust Collection. Adulthood from the Chocolat Masson Calendar, 1897. Colour lithograph, 30 x 21 cm. The Mucha Trust Collection. (p. 56) Old Age from the Chocolat Masson Calendar, 1897. Colour Lithograph, 30 x 21 cm.

33 34 Art Nouveau at the 1900 Universal Exposition in Paris History has selected England, Belgium, and France as the undisputed primary sources of Art NouveauÊs development in the late 19th and early 20th centuries, but contemporaries were unaware of this supremacy. In its section devoted to the decorative arts, the 1900 Universal Exposition in Paris, which called for the construction of both the Grand and Petit Palais, among other buildings, offered a sampling that gave a taste of the real flavour of the period.

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