The English version of the major book from Petr Wittlich, which charts the crisis and development of Czech monumental sculpture at the turn of the 19th/20th century and explores the new decorative style associated with the movement known as Secession or Art Nouveau. The author presents and defines the individual and common features of the work of F. Bílek, S. Suchard, L. Saloun, Q. Kocian, J. Maratka, B. Kafka and J. Stursa. The author focuses on their creative, as well as individual contributions, and he also appreciates their common tendency towards being human, i.e. humans placed within the universal myth of his origins and mission. The book is abundantly illustrated and is designed for the general reader as well as the specialist.

Since the collapse of the Iron Curtain in 1989, Prague has become one of Europe's--and the world's--most popular tourist destinations. As in London, Paris, and Rome, visitors flock to the gorgeous buildings and monuments that grace the streets of Prague, entranced by structures ranging from Gothic and baroque to cubist and neoclassical. And while hundreds of thousands stroll over Charles Bridge and gaze up at St. Vitus Cathedral each year, far fewer venture away from the crowds to seek out the countless gems of art nouveau peppered throughout Prague. With Art Nouveau Prague, Petr Wittlich--one of Europe's leading experts on nineteenth- and twentieth-century architecture--tours those monuments and buildings of Prague that are most representative of the art nouveau movement while offering insightful commentary on each. Along the way, Wittlich visits such sites as the Municipal House, the Wilson Railway Station, the Grand Hotel Europa, and works by sculptors Frantisek Bílek, Ladislav Saloun, and Stanislav Sucharda. An introductory essay by Wittlich emphasizing the role of art nouveau within contemporary currents of modern European art accompanies more than one hundred color illustrations of some of the most stunning examples of art nouveau architecture and decoration in existence, and a detailed bibliography provides additional reading for each of the sites displayed in the book. Art Nouveau Prague is a must-have for those traveling to Prague for the first time or for anyone who appreciates or wants to learn more about art nouveau style.

An art catalogue for the traveling museum exhibition ALPHONSE MUCHA: MASTER OF ART NOUVEAU

The Ivan Lendl Collection is currently the most complete collections of Alfons Mucha ́s posters in the world. It also includes many other examples of Mucha ́s art. This monograph comprises newly-produced high-quality colour prints of all the exhibits in the Lendl collection, as well as more than 100 preliminary drawings, sketches, and prints, which allow the reader to take a peek into Mucha ́s ́art kitchen. ́ 25 photographs documenting Mucha ́s Parisian period may also prove to be of particular interest to art lovers. Its wide range and considerable documentary value make this a truly unique publication offering deeper knowledge of all important periods of Alfons Mucha ́s work.

Alphonse Mucha was an extraordinarily prolific and versatile artist who made his mark in the diverse fields of design - including posters, jewellery, interior decoration, theatre, packaging and product designs - as well as in painting, book illustration, sculpture and photography. He is one of the best-known Czech artists to wide international audiences today and rose to international fame in fin-de- siècle Paris with his elegant designs for theatre posters for Sarah Bernhardt, the most famous French actress of the time, and decorative panels ( panneaux décoratifs ) featuring gracefully posed women. For those posters Mucha created a distinctive style - "le style Mucha" - characterised by harmonious compositions, sinuous forms, organic lines and a muted palette, which became synonymous with the newly emerging decorative style of the time - Art Nouveau. By the time of the Paris Exposition Universelle of 1900, Mucha had become a leading figure in this decorative art movement, who defined the look of the era. The catalogue explores the development of Mucha's career and overall achievements as a multifaceted and visionary artist. It is divided into six sections, highlighting Mucha's personality as Bohemian; picture maker for people; cosmopolitan; mystic; patriot and philosopher.

Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns – sexuality, death and the nature of art – its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau's adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations. The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement's less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood. Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form.

This critical survey of the Art Nouveau movement reveals the diversity of this style across the breadth of the European continent. With the inclusion of Eastern Europe and the full range of artistic media, the book shows how this movement changed the face of European art and design from Paris to Prague. Clearly structured by country, it traces the emergence of Art Nouveau, highlighting the particular interpretations of the style in each country. Countries covered include: Belgium; Spain; Britain; Austria; Hungary; and Russia. Each chapter contains sections on political and cultural contexts, specific visual characteristics and key artists and designers. It analyzes the contribution of both well-known artists and designers such as Gaudi; Van de Velde; Mackintosh; and Mucha, and brings to light many others whose contributions have been largely inaccessible. With a bibliography and glossary, this text should provide a useful introduction to this subject.