Alphonse Mucha’s 1898 Art Nouveau poster Médée captures Sarah Bernhardt as the vengeful sorceress, framing her in a golden halo and sinuous floral ornament, with bold mosaic lettering for Théâtre de la Renaissance.
Alphonse Mucha’s 1896 Art Nouveau poster “Biscuits Lefèvre-Utile” features a floral-crowned maiden in flowing robes offering a plate of butter biscuits, framed by sinuous wheat-and-vine ornament and a 1897 calendar.
Alphonse Mucha’s 1898 Art Nouveau poster “F. Champenois Imprimeur‐Éditeur” features a graceful maiden crowned with flowering vines, holding a catalog, set against a stylized circular floral–geometric background framed by sinuous lines and the printer’s name in elegant custom lettering.
Alphonse Mucha’s 1896 Art Nouveau poster “Sarah Bernhardt in Lorenzaccio” for Théâtre de la Renaissance features the actress in contemplative pose as Lorenzo de’ Medici, framed by stylized foliage, medieval iconography, and elegant custom lettering.
Alphonse Mucha’s Art Nouveau poster “Zdeňka Černý – The Greatest Bohemian Violoncellist” (c. 1910) celebrates Czech cellist Zdeňka Černý with an elegant profile portrait, decorative lily halo, and bold custom lettering that fusion national pride with ornamental design.
Alphonse Mucha’s 1896 Art Nouveau poster “Job” features a stylized profile of a woman surrounded by swirling golden hair and intricate mosaic borders, promoting JOB rolling papers through decorative elegance.
Alphonse Mucha’s 1895 preparatory lithograph “Lovers” (poster mock-up) captures a Belle Époque salon scene, with elegantly dressed couples dancing hand-in-hand before attentive violin and cello players, framed by nascent Art Nouveau ornament.
Alphonse Mucha’s 1900 Art Nouveau lithograph Pater Noster presents the opening line of the Lord’s Prayer—“Pater noster qui es in cælis”—in stylized lettering, encircled by pomegranate blossoms, star fields, and an angelic figure, uniting sacred text with lush decorative ornament.
Alphonse Mucha’s 1903 Art Nouveau poster for Lefèvre-Utile pairs Sarah Bernhardt as “La Princesse Lointaine” with sumptuous lilies, flowing drapery, and elegant branding in a luminous woodland setting.
Alphonse Mucha’s 1900 Art Nouveau poster “Bosnie-Herzégovine” for the Paris Exposition depicts a young Bosnian woman in traditional dress presenting a coffee service amidst stylized roses and geometric motifs.
Alphonse Mucha’s 1899 Art Nouveau panel La Plume portrays an elegant maiden holding a quill and foliage amid stylized floral motifs and pastel harmonies.
Alphonse Mucha’s 1895 Art Nouveau poster for Maurice Donnay’s “Amants” at Théâtre de la Renaissance features elegant dancers, a live violinist, and sinuous floral borders uniting image and text.
Alphonse Mucha’s 1899 Art Nouveau lithograph La Primevère celebrates spring with a graceful maiden in flowing drapery amid stylized primrose blooms and organic pastel ornamentation.
Alphonse Mucha’s 1896 “Lance Parfum Rodo” poster captures Belle Époque Art Nouveau with a graceful woman spraying perfume amid swirling floral motifs and pastel hues.
Alphonse Mucha’s 1897 poster “Monaco, Monte-Carlo. Chemins de Fer P.L.M.” epitomizes Belle Époque Art Nouveau with its graceful female figure, ornate floral motifs, and pastel-hued lithography inviting travelers to the Riviera.
Jean Béraud’s The Fencer (c. 1880s) portrays a poised woman in fencing attire, blending Belle Époque elegance with athletic discipline in an evocative portrait.
Explore Aubrey Beardsley’s haunting illustration How Queen Guenever Made Her a Nun, a masterpiece of silhouette, symbolism, and fin-de-siècle aesthetic.
Discover the artistry and context behind Philip de László’s 1926 oil portrait of Pauline Morton Sabin, a pioneering American political activist. This analysis explores composition, color, and the sitter’s evolving public role, revealing a masterwork of Jazz Age portraiture.