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lithograph 1897 Bières de la Meuse: lithograph 1897 F. Champenois Imprimeur-Éditeur: lithograph 1897 Nestlé's Food for Infants: lithograph 1897 Savonnerie de Bagnolet: lithograph 1897 Dance: lithograph 1898 Bénédictine: lithograph 1898 Medea: lithograph 1898 The Rose: lithograph 1898 Hamlet: lithograph 1899 Moët & Chandon Crémant ...
The 1897 series of color lithographs on paper featured 15 by 43 centimetres (5.9 in × 16.9 in) panels and is located at the Art Institute of Chicago. [12] The 1900 series also features color lithographs, this time sized 54.29 by 75.88 centimetres (21.37 in × 29.87 in). [13] The 1900 series is located at the Victoria & Albert Museum. [13]
English: A series of “four seasons” by Alfons Mucha (but not his first series created in 1896); cropped print of four panels each depicting one of the four seasons personified by a woman, originally printed in circa 1897, and made into the “Chocolat Masson” and “Chocolat Mexican” Calendar of 1897.
According to Geraldine Mucha, the original idea for the Mucha Museum came after the Velvet Revolution. A Swiss entrepreneur had bought and renovated Kounice Palace , under condition from the Prague government it be used for a cultural purpose. He approached Geraldine Mucha with the idea for a gallery of Mucha works. [1]
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Alfons Maria Mucha [1] [2] (Czech: [ˈalfons ˈmuxa] ⓘ; 24 July 1860 – 14 July 1939), [3] known internationally as Alphonse Mucha, was a Czech painter, illustrator, and graphic artist. Living in Paris during the Art Nouveau period, he was widely known for his distinctly stylized and decorative theatrical posters, particularly those of Sarah ...
The publisher offered two extra lithographs a year, the "planches de prime", as an incentive to prospective subscribers. The aim was to promote the art of printmaking by commissioning images from noted Art Nouveau artists, such as Alphonse Mucha , Louis Rhead , Marcel-Lenoir, Henri Boutet , Henri Fantin-Latour , Edward Burne-Jones and ...
Art Nouveau posters and graphic arts flourished and became an important vehicle of the style, thanks to the new technologies of color lithography and color printing, which allowed the creation of and distribution of the style to a vast audience in Europe, the United States and beyond. Art was no longer confined to art galleries, but could be ...
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