The exhibition, “Alphonse Mucha: In Quest of Beauty,” took place in multiple locations across the United Kingdom. I will also incorporate the writings of Griselda Pollock, Linda Nochlin, and others within the feminist art history discourse to comment on this narrative thread of the catalog as well as the writings within. Within the many narratives of Mucha's practice explored in Alphonse Mucha: In Quest of Beauty (there are many presented in this catalog for a retrospective styled exhibition) I will focus here on the coverage of the culture of changing femininity during Mucha's lifetime within the book, look at who contributed to these changes in culture, discuss examples of the artistic depictions of this changing culture, and so on hopefully commenting on Mucha's place within these discussions in the process. One can see this changing style of femininity depicted in the work of art nouveau artists such as Mucha, carried over to ephemeral works from the paintings of the Pre-Raphaelites. Not coincidentally, the psychedelic movement was accompanied by a changing landscape in feminist movements, potentially mirroring the cultural shifts that transformed ideas of femininity during the Belle Époque (the period of western history from 1871-1914). After decades of obscurity, artists in San Francisco began appropriating Mucha’s femme fatales for use in their prints associated with the psychedelic movement. The alluring, sensuous femme fatales that adorn Czech artist Alfons Maria Mucha’s (1860-1939) images have played the central role in much of the scholarship surrounding his work-especially after the art nouveau revival in the late 1960s.
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