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Alphonse Mucha and the Suppression o...

McLean Batista, Anetha Cristina.

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Alphonse Mucha and the Suppression of Art Hierarchies in the 'Fin de Siecle'.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Alphonse Mucha and the Suppression of Art Hierarchies in the 'Fin de Siecle'./
作者:	McLean Batista, Anetha Cristina.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
面頁冊數:	80 p.
附註:	Source: Masters Abstracts International, Volume: 81-05.
Contained By:	Masters Abstracts International81-05.
標題:	Art history. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13887026
ISBN:	9781088383537

Alphonse Mucha and the Suppression of Art Hierarchies in the 'Fin de Siecle'.
McLean Batista, Anetha Cristina.

Alphonse Mucha and the Suppression of Art Hierarchies in the 'Fin de Siecle'. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 80 p.

Source: Masters Abstracts International, Volume: 81-05.

Thesis (M.A.)--State University of New York at Stony Brook, 2019.

This item must not be sold to any third party vendors.

In 1887, when Czech artist Alfons Mucha moved to Paris for studies, he found a cultural and conceptual environment-Wagner's ideas on music and art expanded by the Wagnerists, the Arts and Crafts movement, the decadent literature, and mysticism, among others-that were in tune with his own ideals and, therefore, catalyzed the development of a style that became his signature and that was soon associated with the new born Art Nouveau movement. The Parisian scene was propitious for an exchange of knowledge between artists, philosophers, and mystics from different backgrounds. France was trying to establish its international image as leaders of refinement and beauty, which allowed art to take many forms to be spread across the country. The concept of art expressed through different media favored Mucha's artistic practice.On account of Mucha's wide production across genres and mediums, and his resistance to classifications, Mucha constitutes a good example of the interrelation between different types of art. Through Mucha's figure, the canon used to determined what is art can be challenged. The goal of scholars that place Mucha within the mainstream of art history is pursued through efforts of obliterating resisting art hierarchies that overshadow his place in art history. This thesis is in line with those efforts. It will acknowledge Mucha's Slavic background and the possible exchange of ideas he had with other artists and thinkers during his period in France-from 1887 to 1904-to underscore Mucha's convictions on what is art and show how art do surpass borders.

ISBN: 9781088383537Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Mucha, Alfons

Alphonse Mucha and the Suppression of Art Hierarchies in the 'Fin de Siecle'.
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500 $a Source: Masters Abstracts International, Volume: 81-05.
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520 $a In 1887, when Czech artist Alfons Mucha moved to Paris for studies, he found a cultural and conceptual environment-Wagner's ideas on music and art expanded by the Wagnerists, the Arts and Crafts movement, the decadent literature, and mysticism, among others-that were in tune with his own ideals and, therefore, catalyzed the development of a style that became his signature and that was soon associated with the new born Art Nouveau movement. The Parisian scene was propitious for an exchange of knowledge between artists, philosophers, and mystics from different backgrounds. France was trying to establish its international image as leaders of refinement and beauty, which allowed art to take many forms to be spread across the country. The concept of art expressed through different media favored Mucha's artistic practice.On account of Mucha's wide production across genres and mediums, and his resistance to classifications, Mucha constitutes a good example of the interrelation between different types of art. Through Mucha's figure, the canon used to determined what is art can be challenged. The goal of scholars that place Mucha within the mainstream of art history is pursued through efforts of obliterating resisting art hierarchies that overshadow his place in art history. This thesis is in line with those efforts. It will acknowledge Mucha's Slavic background and the possible exchange of ideas he had with other artists and thinkers during his period in France-from 1887 to 1904-to underscore Mucha's convictions on what is art and show how art do surpass borders.
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