Alphonse Mucha12, The Slav Epic

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YOU CAN DOWNLOAD THIS PRESENTATION HERE: http://www.nicepps.ro/prezentare-powerpoint-alphonse-mucha12-22047.html http://www.slideshare.net/michaelasanda/alphonse-mucha12 Thank you! Mucha spent many years working on The Slav Epic cycle, which he considered his life's masterwork. He had dreamed of completing such a series, a celebration of Slavic history, since the turn of the 19th century; however, his plans were limited by financial constraints. In 1909, he managed to obtain grants by an American philanthropist and keen admirer of the Slavic culture, Charles Richard Crane. He began by visiting the places he intended to depict in the cycle: Russia, Poland and the Balkans, including the Orthodox monasteries of Mount Athos. Additionally, he consulted historians regarding details of historical events in order to ensure an accurate depiction. In 1910, he rented part of the castle in Zbiroh and began working on the series.

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12 Alphonse Mucha

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The Slav Epic is a cycle of 20 large canvases painted by Alfons Mucha between 1910 and 1928. The cycle depicts the history of Czechs and other Slavic peoples. Mucha bestowed the cycle upon the city of Prague on condition that the city build a special pavilion for it. As of 2010, the work wass a part of the permanent exhibition at the chateau in the town of Moravský Krumlov in the South Moravian Region of the Czech Republic. As of July 2012 all 20 works are displayed together on the ground floor of the Veletržní Palace in an exhibition organized by the National Gallery in Prague (exhibition catalogue: Alfons Mucha - Slovanská epopej). Mucha conceived The Slav Epic (Slovanská epopej) series of twenty monumental canvases (the largest measuring over 6 by 8 metres) depicting the history of the Slav people and civilization as a monument for all the Slavonic peoples and he devoted the latter half of his artistic career to the realization of this work.

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In 1928, the complete cycle was displayed for the first time in the Trade Fair Palace in Prague, the Czechoslovak capital. Alfons Mucha died in July, 1939. Shortly before his death he was interrogated by the Gestapo, as he was an important exponent of public life in Czechoslovakia. During World War II, the Slav Epic was wrapped and hidden away to prevent seizure by the Nazis.

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Between 1911 and 1926 Mucha’s energy was taken up with the creation of the Slav Epic. For this project he rented a studio and an apartment in Zbiroh Castle in Western Bohemia (now a luxury hotel) to benefit from the spacious studio enabling him to work on enormous canvases

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'The Slav Epic' cycle No.1: The Slavs in Their Original Homeland (1912) tempera on canvas 610 x 810 cm

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tempera on canvas 610 x 810 cm

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'The Slav Epic' cycle No.1: The Slavs in Their Original Homeland (detail) Between the Turanian Whip and the Gothic Sword

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'The Slav Epic' cycle No.1: The Slavs in Their Original Homeland (1912)

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'The Slav Epic' cycle No.1: The Slavs in Their Original Homeland (1912) Between the Turanian Whip and the Gothic Sword tempera on canvas 610 x 810 cm

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Veletrzni Palace (National Gallery), Prague

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As of July 2012 all 20 works are displayed together on the ground floor of the Veletržní Palace in an exhibition organized by the National Gallery in Prague

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The Slav Epic' cycle No.2: The Celebration of Svantovít (1912) When the Gods are at War, Salvation is in the Arts 610 x 810 cm

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2.The Celebration of Svantovít (1912) Festival on the Island of Rugin

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'The Slav Epic' cycle No.3: Introduction of the Slavonic Liturgy in Great Moravia (1912) To Praise the Lord in One’s Native Tongue tempera on canvas 610 x 810 cm

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'The Slav Epic' cycle No.3: Introduction of the Slavonic Liturgy in Great Moravia (1912) To Praise the Lord in One’s Native Tongue tempera on canvas 610 x 810 cm

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'The Slav Epic' cycle No.3: Introduction of the Slavonic Liturgy in Great Moravia (1912) To Praise the Lord in One’s Native Tongue tempera on canvas 610 x 810 cm

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'The Slav Epic' cycle No.3: Introduction of the Slavonic Liturgy in Great Moravia (1912) To Praise the Lord in One’s Native Tongue tempera on canvas 610 x 810 cm

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'The Slav Epic' cycle No.4: Tsar Simeon I of Bulgaria (1923) The Founder of Slavonic Literature tempera on canvas 610 x 810 cm

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The Slav Epic' cycle No.5: King Přemysl Otakar II of Bohemia: The Union of Slavic Dynasties (1924) egg tempera on canvas 405 x 480 cm

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The Slav Epic' cycle No.6: The Coronation of the Serbian Tsar Stepan Dusan as East Roman Emperor - The Slavic Code of Law tempera on canvas 405 x 480 cm

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In 1911, Mucha had returned from USA to Prague – never to return to Paris – and began creating his magnum opus: The Slav Epic. In over fifteen years of work, he created 20 paintings measuring nearly 18 by 20 feet each. Ten of the paintings depict historical events related specifically to the Czech nation.

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The Slav Epic' cycle No.7: Milic of Kromeriz the construction of the refuge for penitent prostitutes (1916) egg tempera on canvas 620 x 405 cm

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The Slav Epic' cycle No.8: Master Jan Hus Preaching at the Bethlehem Chapel: Truth Prevails (1916) egg tempera on canvas 610 x 810 cm

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The Slav Epic' cycle No.9: The Meeting of Krizky(1916) egg tempera on canvas 620 x 405 cm.

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The Slav Epic' cycle No.10: After the Battle of Grunewald (1924) The Solidarity of the Northern Slavs egg tempera on canvas 405 x 610 cm.

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The Slav Epic' cycle No.11: After the Battle of Vitkov - God Represents Truth, not Power egg tempera on canvas 405 x 620 cm

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The Slav Epic' cycle No.12: Petr Celcicky Do not repay evil with evil 1 918 egg tempera on canvas 405 x 620 cm.

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The Slav Epic' cycle No.12: Petr Celcicky: Do not repay evil with evil ( 1 918) Details

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The Slav Epic' cycle No.13: Hussite King Jiri z Podebrad - Treaties are to be Observed

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The Slav Epic' cycle No.14: The Defence of Sziget by Nikola Zrinski - The Shield of Christendom (1914) tempera on canvas 610 x 810 cm

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The Slav Epic' cycle No.15: The Printing of the Bible of Kralice in Ivancice - God Gave us a Gift of Language (1914) tempera on canvas 610 x 810 cm

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The Slav Epic' cycle No.16: Jan Amos Komensky A Flicker of Hope tempera on canvas 405 x620 cm 1918 tempera on canvas 405 x 620 cm

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In his will, Mucha bequeathed the Slav Epic to the city of Prague, on condition that they build a special pavilion to house them.

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The Slav Epic' cycle No.17: Holy Mount Athos Sheltering the Oldest Orthodox Literary Treasures tempera on canvas 405 x 480 cm

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The Slav Epic' cycle No.18: The Oath of Omladina under the Slavic Linden Tree - The Slavic Revival 1928 tempera on canvas 420 x 620 cm cm

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It took the artist almost 20 years to complete his masterpiece, which he finished in 1928 In 1936 the Artist published his memoirs "Three Statements on My Life and Work". Two years later, in 1938, Czechoslovakia was taken over by Nazi Germany, as a result of the Munich Agreement between the governments of Germany, Britain and France (Czechoslovakia was never invited to the negotiations). Since the suppression of nationalism was high on the agenda of the conquerors, Mucha, with his history of patriotism and Pan-Slavism, was arrested and incarcerated by the Gestapo. Already an old man by this time, the painter caught pneumonia and died on 14th July, 1939.

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By the time of his death, Mucha's style was considered outdated and old-fashioned. However, his son, author Jiri Mucha, devoted much of his life to writing about him and bringing attention to his art. Interest in Mucha's distinctive style experienced a strong revival in the 1960's with a general interest in Art Nouveau

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The Slav Epic' cycle No.19: The Abolition of Serfdom in Russia - Work in Freedom is the Foundation of a State 1914 tempera on canvas 610 x 810 cm

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Building a pavilion for enormous Slav nationalist paintings wasn’t Prague’s top concern during World War II. Just keeping the paintings out of Nazi hands was challenge enough. The Slav Epic was rolled up and hidden. Unfortunately the end of the war wasn’t much help, as the Soviet-backed Communist Party which took power in the 1948 Czech coup had no love for the “Epic”.

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The Slav Epic' cycle No.20: The Apotheosis of the Slavs - Slavs for Humanity tempera on canvas 480 x 405 cm

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The Mucha Foundation says that Prague’s main railway station is the best permanent home for the paintings. [The artist's grandson] John Mucha says that the foundation is in negotiations with the council about the plans. When describing the suitability of the venue, John Mucha says that the train noise can be screened, and appropriately the art nouveau station was designed by Josef Fanta, a friend of Alphonse Mucha.

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Sound : Antonín Dvořák: Symphony No.9 4/4 - New York Philharmonic Text and pictures: Internet Copyright: All the images belong to their authors Presentation: Sanda Foişoreanu www.slideshare.net/michaelasanda

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