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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 vanguard of artwork Nouveau, the modernist flow that swept Paris within the 1910s, marking a go back to the simplicity of ordinary types, and altering the realm of artwork and layout perpetually. in truth, artwork Nouveau used to be recognized to insiders because the “Mucha kind” for the legions of imitators who tailored the master’s celebrated tableaux. this 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 occupation, illustrated with over 100 of lustrous photographs, from early Parisian ads and posters for Sandra Bernhardt, to the recognized historic work of art painted in advance of his loss of life, on the age of seventy eight, in 1939.

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Pp. 60-61) 59 Amsterdam, neo-Flemish taste, masterfully handled, usually triumphed. But the Netherlands also participated in the new movement, often with exceptional feeling. What a pity that the Netherlands failed to exhibit architectural drawings at the Exposition, because some of the houses in the new quarters being built near the museum had exquisite line and colouration: light touches of soft colour in the pale green hues that harmonise so well with brick. Department stores, boutiques, brasseries, and new cafes in Amsterdam and elsewhere boasted truly innovative ornament.

Pp. 64-65) 62 The Royal Copenhagen factory deserved every form of praise it received, as did the Bing and Gröndahl Porcelain Factory, which fearlessly went into competition and friendly conflict with Royal Copenhagen, but which, under the skilled and stern management of Willumsen, concentrated on plastic decorations. There is little that has not already been said about these porcelains, about their blue and white colourations, so soft, tender, and easy on the eye, about the decoration of the plates and vases, where the Danes with such taste and dexterity evoked JapanÊs delicate decoration even as they translated it.

These masters on the Esplanade des Invalides therefore deserve our utmost gratitude, because in this exhibition they made certain that FranceÊs artistic supremacy would be revealed once and for all. The French exhibitors included the artists of the Manufacture nationale de Sèvres, whose revitalised works of perfect beauty may have saved the life and the honour of French manufacturers; other masters of the applied arts; and no doubt a few practitioners of the fine arts, whose work did not always display the same quality as the work of the minor artists they were so contemptuous of.

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