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Alphonse Mucha. (1860 – 1939). Winter. (1896). Art Nouveau. 

All the poetry and delicacy of Art Nouveau.




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Video : Mucha.


Alphonse Mucha. ((1860 – 1939). Winter. (1896). Art Nouveau. All the poetry and delicacy of Art Nouveau.


Mucha is at the origin of Art nouveau. Its very floral style is characterized by sinuous lines in whiplash, fine flowers with double tail, female reasons with long floating hair and delicately attenuated letters. Mucha becomes the poster artist appointed of the French artist Sarah Bernhardt and one of the poster artists most required. It painted hundreds of posters, for the country cottages, the cookies Lefèvre Utile (Lu) and the Cigarette paper Job for example.
In 1896 the first ornamental panel of Mucha, the four seasons is printed.
Alphonse Mucha likes to work of the series of panels. In addition to the principal panel which, later tightened adapted as a calendar for the Chocolate Masson, it carries out the 4 seasons detail. Spring, the Summer, the Autumn and the Winter. It is the same for the Series of the flowers in 1898 with the Eyelets, the Irises, the Lilies and the Pinks. Invaluable stones, Amethyst, Ruby, Topaz and Emerald. Arts in 1898, Hours of the Day in 1899 and the Series of the Moon and stars in 1902. To represent the allegory of Winter Mucha cannot use sheets of flowers. It judiciously replaces those by the branches of the trees naked or snow-covered. The branches describe arabesques and volutes as if they were sheets or flowers. The characteristic lines in whiplash are on with dimensions ones. To represent the rigors of the winter Mucha chooses a beautiful young woman heating between its hands a small bird. 3 other sparrows await their turn on a branch in front of it. The style of Mucha it is also the poetic allegory, delicacy and refinement. This explains its immense success as a poster artist, the industrialists have any refinement no delicacy and poetry their is unknown. Thus when they find an artist who can insert their marks in this universe in charge of direction and of charm they do not release it any more… 

The point of view of the spectator is located between the face of the young woman and the 3 birds. Work is all in length and the glance goes up naturally towards the action. the hands of the model and the 3 birds. 

The body of the model is on 4 tension fields and 3 natural points of interest. 
The birds are located exactly on the natural point of interest right superior. 

The character is surrounded by snow and white which express the cold but to emphasize its Mucha model uses an artifice, it adds in the background a vegetable form pointing out the shape of a tree of orange colour. This makes it possible the young woman to be detached well from the background. Better than if this one had been white. 

Work is built on the large rising diagonal. A great majority of the guiding lines go up. The character is slightly tilted towards the line. 


Details : 

To heat the bird the young woman tightens it in her hands and the approach of the heat of her face. 

These 3 sparrows have the dishevelled feathers and seem transit of cold, they tighten the ones against the others to try to be held hot. 

Naked branches or glazes of snow describe the arabesques and the lines in the form of whiplash characteristics of the Art nouveau. 

Light : The whiteness of snow in the foreground clarifies the scene and the model. 

Colours : 

Contrasts between hot and cold colours. 
1 only contrast between complementary colours.

Similary Paintings : 

Alphonse Mucha. Spring. (1896). 

Alphonse Mucha. Summer. (1896).

Alphonse Mucha. Autumn. (1896).