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Asos came through again with another great dupe in these pink velvet beauties. Maybe I should just wear these around my apartment, now that I have nowhere to go. Brunhoff asked Mucha to quickly design the new poster for Bernhardt. The poster was more than life-size; a little more than two meters high, with Bernhardt in the costume of a Byzantine noblewoman, dressed in an orchid headdress and floral stole, and holding a palm branch in the Easter procession near the end of the play.

One of the innovative features of the posters was the ornate rainbow-shaped arch behind the head, almost like a halo, which focused attention on her face; this feature appeared in all of his future theater posters. Probably because of a shortage of time, some areas of the background were left blank instead of his usual decoration.

The only background decoration were the Byzantine mosaic tiles behind her head. The poster featured extremely fine draftsmanship and delicate pastel colors, unlike the typical brightly-colored posters of the time. The top of the poster, with the title, was richly composed and ornamented, and balanced the bottom, where the essential information was given in the shortest possible form; just the name of the theater.

The poster appeared on the streets of Paris on 1 January and caused an immediate sensation.

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Bernhardt was pleased by the reaction; she ordered four thousand copies of the poster in an and gave Mucha a six-year contract to produce more. With his posters all over the city, Mucha found himself quite suddenly famous.

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Following GismondaBernardt switched to a different printer, F. Champenois, who, like Mucha, was put under contract to work for Bernhardt for six years.

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Champenois had a large printing house on Boulevard Saint Michel which employed three hundred workers, with twenty steam presses. He gave Mucha a generous monthly salary in exchange for the rights to publish all his works. Mucha designed posters for each successive Bernhardt play, beginning with a reprise of one of her early great successes, La Dame aux Camelias Septemberfollowed by Lorenzaccio ; Medea ; La Tosca and Hamlet He sometimes worked from photographs of Bernhardt, as he did for La Tosca.

In addition to posters, he designed theatrical programs, sets, costumes, and jewelry for Bernhardt. The enterprising Bernhardt set aside a certain number of printed posters of each play to sell to collectors.

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Bernhardt in a male role as Lorenzaccio The success of the Bernhardt posters brought Mucha commissions for advertising posters. They were published in large print runs for a modest price.

The first series was The Seasonspublished indepicting four different women in extremely decorative floral settings representing the seasons of the year. In he produced an individual decorative panel of a young woman in a floral setting, called Reveriefor Champenois.

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These were sold in various formats, ranging from expensive versions printed on Japanese paper or vellum, to less expensive versions which combined multiple images, to calendars and postcards. His posters focused almost entirely on beautiful women in lavish settings with their hair usually curling in arabesque forms and filling the frame. His poster for the railway line between Paris and Monaco-Monte-Carlo did not show a train or any identifiable scene of Monaco or Monte-Carlo; it showed a beautiful young woman in a kind of reverie, surrounded by swirling floral images, which suggested the turning wheels of a train.

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The fame of his posters led to success in the art world; he was invited by Deschamps to show his work in the Salon des Cent exhibition inand then, into have a major retrospective in the same gallery showing works. The magazine La Plume made a special edition devoted to his work, and his exhibition traveled to Vienna, Prague, Munich, Brussels, London, and New York, giving him an international reputation.

The Paris Universal Exposition offamous as the first grand showcase of the Art Nouveaugave Mucha an opportunity to move in an entirely different direction, toward the large-scale historical paintings which he had admired in Vienna.

It also allowed him to express his Czech patriotism.

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His foreign name had caused much speculation in the French press, which distressed him. Sarah Bernhardt stood up on his behalf, declaring in La France that Mucha was "a Czech from Moravia not only by birth and origin, but also by feeling, by conviction and by patriotism. This pavilion displayed examples of industry, agriculture and culture of these provinces which inby the Treaty of Berlinhad been taken away from Turkey and put under the tutorship of Austria. The temporary building built for the Exposition had three large halls with two levels, with a ceiling more than twelve meters high, and with natural light from skylights.

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His experience in theater decoration gave him the ability to paint large-scale paintings in a short period of time. Mucha's original concept was a group of murals depicting the suffering of the Slavic inhabitants of the region caused by the occupation by foreign powers.

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The sponsors of the exhibit, the Austrian government, the new occupier of the region, declared that this was a little pessimistic for a World's Fair. He changed his project to depict a future society in the Balkans where Catholic and Orthodox Christians and Muslims lived in harmony together; this was accepted, and he began work.

Mucha immediately departed for the Balkans to make sketches of Balkan costumes, ceremonies and architecture which he put into his new work.

His decoration included one large allegorical painting, Bosnia Offers Her Products to the Universal Expositionplus an additional set of murals on three walls, showing the history and cultural development of the region.

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He did discreetly include some images of the sufferings of the Bosnians under foreign rule which appear in the arched band at the top of the mural. While the work depicted dramatic events, the overall impression given by the work was one of serenity and harmony.

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His work appeared in many forms at the Exposition. He designed the posters for the official Austrian participation in the Exposition, the menu for the restaurant at the Bosnian pavilion, and menu for the official opening banquet.

He produced displays for the jeweler Georges Fouquet and the perfume maker Houbigantwith statuettes and panels of women depicting the scents of rose, orange blossom, violet and buttercup.

His more serious art works, including his drawings for Le Paterwere shown in the Austrian Pavilion and in the Austrian section of the Grand Palais.

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During the course of the Exposition, Mucha proposed another unusual project. The Government of France planned to take down the Eiffel Towerbuilt especially for the Exposition, as soon as the Exposition ended. Mucha proposed that, after the Exposition, the top of the tower should be replaced by a sculptural monument to humanity be constructed on the pedestal.

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The tower proved to be popular with both tourists and Parisians, and the Eiffel Tower remained after the Exhibit ended. Image from the Bosnia Pavilion murals, now in Petit Palais Mucha's many interests included jewelry.

His book, Documents Decoratifscontained plates of elaborate designs for brooches and other pieces, with swirling arabesques and vegetal forms, with incrustations of enamel and colored stones.

In he collaborated with the jeweler Georges Fouquet to make a bracelet for Sarah Bernhardt in the form of a serpent, made of gold and enamel, similar to the costume jewelry Bernhardt wore in Medea.

The Cascade pendant designed for Fouquet by Mucha is in the form of a waterfall, composed of gold, enamel, opals, tiny diamonds, paillons, and a barocco or misshapen pearl. After the Exposition, Fouquet decided to open a new shop at 6 Rue Royale, across the street from the restaurant Maxim's.

He asked Mucha to design the interior.

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The centerpieces of the design were two peacocks, the traditional symbol of luxury, made of bronze and wood with colored glass decoration. To the side was a shell-shaped fountain, with three gargoyles spouting water into basins, surrounding the statue of a nude woman. The salon was further decorated with carved moldings and stained glass, thin columents with vegetal designs, and a ceiling with molded floral and vegetal elements.

It marked a summit of Art Nouveau decoration.

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The Salon opened injust as tastes were beginning to change, moving away from Art Nouveau to more naturalistic patterns. It was taken apart inand a replaced by a more traditional shop design. Fortunately most of the original decoration was preserved, and was donated in and to the Carnavalet Museum in Paris, where it can be seen today. Cascade pendant designed by Alfons Mucha for Fouquet jewelers, Petit Palais museum, Paris.

The jewelry shop Georges Fouquetcreated by Mucha Mucha's next project was a series of seventy-two printed plates of watercolors of designs, titled Documents Decoratifswhich were published in by the Librarie central des beaux-arts.

They represented ways that floral, vegetal and natural forms could be used in decoration and decorative objects. In about he had begun to teach at the Academy Colarossiwhere he himself had been a student when he first arrived in Paris.

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His course was precisely described in the catalog: "The object of the Mucha course is to permit the student to have the necessary knowledge for artistic decoration, applied to decorative panels, windows, porcelain, enamels, furniture, jewelry, posters, etc. Mucha made a considerable income from his theatrical and advertising work, but he wished even more to be recognized as a serious artist and philosopher.

He was a devoted Catholic, but also was interested in mysticism.

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