A Pavilion of One’s Own: The Intersection of Transnationalism and Slavic Pride in the Career of Alphonse Mucha

Presentation author(s)

Lauren Woolf ’21, Souderton, Pennsylvania

Majors: History; Art History
Minor: Museum Studies


Alphonse Mucha was an extremely influential figure in the development of poster culture and the Art Nouveau movement in the late 19th and early 20th centuries. His career appears to be an ideal image of the flourishing artist. Appearances, however, can be somewhat deceiving. A consistent undertone of Mucha’s portfolio is the conflict of cultural pride and a capitalist art market. This research considers Mucha’s career as a microhistory of the modern transnational art world and as a case study of personal Slavic pride seen in internationally distributed media.

Born in 1860 in the Moravian region of Czechia, Mucha cultivated a sense of Slavic pride from a young age. Moravia, a part of the Austro-Hungarian Empire, was one of many culturally autonomous Slavic regions to experience oppression by ruling powers. The limited opportunities in his homeland resulted in Mucha seeking experience, artistic training, and success in Western areas of the continent, like Vienna, Munich, and Paris. Additionally, he built an extensive personal network with prominent figures, such as Paul Gaugin, Sarah Bernhardt, and many others. His professional prospects were based in Paris and American metropolises, but his personal investment in the glorification of Slavic culture kept him going until he could return home.

Mucha’s early career is shaped by commissions that removed the visual influence of his Moravian upbringing or utilized his knowledge of Slavic cultures for imperialist purposes. He did not have the individual autonomy to solely produce Slavic imagery until much later in his career. This research focuses on the professional life of Mucha, whose work is so widely disseminated in style, while recognition of his aims has fallen to the wayside.


Daniel Brueckenhaus

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