Developing the Mucha Connection

The time in southern Oregon was relaxing and pleasant but the time has come to yeild once more to the pressures of academic life. As previously mentioned, I have a paper regarding Kate Chopin's The Awakening in the works. The main premise of this paper is that Chopin's world was dominated by repeating female archetypes in both art and literature. In my reading these archetypes become the various personas adopted by Chopin's main character, Edna, as she tries to experience "self-hood". In order to illustrate this point I intend to rely upon the images of two popular artists who were creating during Chopin's time. While many people draw parallels between the images of motherhood in Chopin and the works of Mary Cassatt, I am eschewing that well traveled road in favor of Alphonse Mucha and J. W. Waterhouse.

My reasons for this vary. In the case of Mucha I am interested in illustrating the connection between art and economy. Mucha was a commercial artist for most of his life and his works were and still are widely reproduced. Born July 1860 in Moravia, Alphonse Mucha was the son of middle class parents. His interest in drawing was apparent in his youth, and the young Mucha’s obsession with art seems to have been a disappointment to his family who tried on a number of occasions to steer their son in other directions including the seminary (14). 

In 1887 Mucha relocated to Paris in hopes of developing his art beyond the confines of romanticism (16). His initial experience in Paris was not promising. He made “a bare living…executing minor graphic works for various clients” until 1895 when his poster for Sarah Bernhardt’s “Gismonda” changed the course of Mucha’s life (16).  “It would be difficult to over estimate Sarah Bernhardt’s role in Mucha’s subsequent fame” (16). “It is quite certain, however, that his association with her launched him on a career at quite a different level than what he had experienced up to that time. He was now a preeminent graphic artist and posterist of not just local but international fame" (17). The Bernhardt posters were “widely publicized in many European and American publications…and their reproductions were distributed throughout the world” (17).

It is highly likely that Chopin was familiar with his work. I have found a few websites suggesting that Chopin was a fan of Sarah Bernhardt but this connection will need to be developed. 

Rennert, Jack and Alain Weill. Alphonse Mucha: The Complete Posters and Panels. G.K.Hall: Boston, 1984.