时光的一天——光辉的白天、晨的到来、暮时的幻想、夜的休憩







四季年历——童年、青年、成年、老年







三季组图

组图：石楠花-海冬青树

组图：常春藤-月桂树

组图：百合-水果

组图：樱草花-羽毛

看到左边那个穿着捷克民族服饰的女孩吗？“她”原来是不在画面的，而是直到20世纪80年代在日本展出，在维护保养时才意外发现了“她”。当日本人将这项重大发现告诉穆夏的儿子时，他才透露，画中那个女孩是他的妹妹，小时候，因为和妹妹贾斯丝娃拉不合，加上家里空间太小，没地方挂这幅长达两公尺多的画，他才私自把画对折起来。
令人感到不可思议的是，这位女孩竟来自“未来”。因为贾斯丝娃拉是在这幅画完成四年后才出生的，而这女孩竟和十二岁的贾斯丝娃拉长得一模一样，也就是说，穆夏“遇到”来自十六年后的女儿了，这不能不说是相当灵异的一幅画作！


Introduction of the Slavonic Liturgy

Abolition of Serfdom in Russia

6th Sokol Festival
1912
colour lithograph
168.5 x 82.3
While subject to Hapsburg rule the Czechs, like other minorities in the Austro-Hungarian Empire, were forbidden to organise politically. As a result patriotic sentiments had to be disguised and expressed through seemingly safe outlets. Sokol, the Czech word for falcon, on the surface an innocuous gymnastic organisation, was one such outlet, whose purpose was ostensibly to train young people in athletics and to organise national sporting competitions. Its true purpose, however, was political and Sokol worked tirelessly to arouse the nationalist spirit and throw off the Hapsburg yoke. By creating this and other posters for the organisation, Mucha clearly allied himself with the group?s patriotic cause. In this poster Mucha once again combines the realistic with the symbolic. The young girl in a red cloak, a Sokol colour, is a personification of Prague; her crown resembles the ramparts of the city, her staff bears the emblem of Prague and she holds garlands made of the leaves of the linden tree ? the national tree of the Czech lands. In the background a shadowy young woman, representing the spirit of the early Slavs, carries a falcon, sokol, symbol of manly qualities and a spiked sun circle, symbol of future hope.


Apotheosis of the Slavs

Madonna of the Lilies
1905
tempera on canvas
247 x 182
In 1902 Mucha was asked to decorate a church in Jerusalem dedicated to the Virgin Mary. The project was later cancelled but not before Mucha had created this painting. Mucha called the subject Virgo purissima and surrounded the heavenly vision of the Madonna with a mass of lilies, symbol of purity. The seated young girl in traditional costume carries a wreath of ivy leaves, symbol of remembrance. Her serious expression and strong physical presence contrast with the ethereal figure of the Virgin. Another picture of the model for the young girl is included in Figures décoratives Plate 8.


Jiri
1925
oil on canvas
72 x 65 oval
Mucha
painted many portraits of his children as well as using them as models in many
other works. As the painting of Ji_í shows, Mucha wanted his son to follow in
his footsteps and become an artist. As it happened, it was his daughter who
became first an artist and then a picture restorer. It is largely due to her
efforts that the canvases of the Slav Epic have survived in their present
condition. Ji_í became instead a writer and his father?s biographer, producing
the definitive work on Mucha?s life.


Jaroslava
1925
oil on canvas
72 x 65 oval
Mucha painted many portraits of his children as well as using them as models in many other works. As the painting of Ji_í shows, Mucha wanted his son to follow in his footsteps and become an artist. As it happened, it was his daughter who became first an artist and then a picture restorer. It is largely due to her efforts that the canvases of the Slav Epic have survived in their present condition. Ji_í became instead a writer and his father?s biographer, producing the definitive work on Mucha?s life.