Now available in a new edition, this gorgeous volume surveys the entire breadth of Alphonse Mucha's work--from illustration and decorative arts to his photography and the historical paintings that were his life's passion. Alphonse Mucha is known largely for having originated Art Nouveau, when his poster of the actress Sarah Bernhardt became a legendary icon of the movement. Mucha went on to design hundreds of pieces in the decorative arts field, but later distanced himself from the style he pioneered, devoting his time and energy to painting. This book presents the full array of Mucha's artistic contributions--not only his posters and jewelry designs but also his design for the pavilion of Bosnia and Herzegovina at the 1900 world's fair. The book also contains his works on canvas, which include pastels and frescoes, and his magnum opus, The Slavic Epic, a series of 20 paintings depicting the history of his native people. A stunning selection of nearly 500 color illustrations is accompanied with essays that explore Mucha's style and inspirations, his transition away from the decorative arts, and his forays into photography. Fans of Art Nouveau will treasure this dazzling and unique study of the artist and his contributions to design and illustration.

This volume illustrates the development of art in Central Europe from 1830 - 1860 - a period which begins in the age of Biedermeier but extends well beyond it. It shows by means of a selection of representative works how art at this time developed independently and was not restricted to the historical Biedermeier era. DESCRIPTION "Is that Biedermeier?", we often ask of pictures which date from the same period but do not look typically Biedermeier. The publication concentrates on these works in particular by showi ng the wide range of painting in the years between 1830 - 1860 through portraits, landscapes and genre pictures. The main focus lies on Austrian painters like Ferdinand Georg Waldmuller, Rudolf von Alt and Friedrich von Amerling, together with artists from N orthern Italy, Hungary, Bohemia and Slovenia including Giuseppe Tominz, Jozsef Borsos, Bedrich Havranek and Francesco Hayez. There are also references to the changes in style in furniture production at that time, which also demonstrated a remarkable divers ity.

For ten whole months, from September 1814 to June 1815, the imperial residential city of Vienna was the centre of Europe. Never before had there been a comparable meeting of sovereigns and their ambassadors: two emperors (Tsar Alexander I, Emperor Francis I[II]), five kings (Frederick I of Württemberg, Frederick VI of Denmark, Frederick William III of Prussia, Frederick August I of Saxony, Maximilian I of Bavaria), also many princes and diplomats from practically all parts of the continent converged upon th e capital for the diplomatic proceedings. The re - ordering of the European continent aimed to secure political stability at last after the Napoleonic Wars. Europe’s borders were redefined, the political balance of power re - established. These diplomatic proc eedings were accompanied by entertainments of all kinds – balls, festivities, sleigh rides and receptions, also theatre performances and musical events, the splendours of which were documented in words and pictures. Vienna blossomed as the centre of social life; the enhanced purchasing power also boosted the economy, brought foreign painters into the imperial capital, and spurred on all genres of art production on the home front. Thus the city became the political, cultural and social nucleus of Europe. Wi th numerous historical photographs, paintings and historical documents the publication will show the impact that this meeting had on the whole European continent and especially on Vienna. Several essays will draw light on the political, the cultural and th e entertainment side of this event of the century.