Home Random Page


CATEGORIES:

BiologyChemistryConstructionCultureEcologyEconomyElectronicsFinanceGeographyHistoryInformaticsLawMathematicsMechanicsMedicineOtherPedagogyPhilosophyPhysicsPolicyPsychologySociologySportTourism






Influence of mythology.

On the basis of previous statement, is easy to assume that the young man in the poster by Alphonse Mucha, can act as not quite human. Baroque, famous for his religious and mythological motifs, could also affect the interest in Mucha to Greek mythology. The image of the man in the poster resembles the image of the Faun, the guardian of forests and herds. In the Rubens painting “Peace and War” 1629 -1630 (Great artists. Peter Paul Rubens. 2009: 9) in the left piece of painting is easy to find the Faun, holding the cornucopia in his hands. The main distinguishing features of a faun are dark curly hair, horns, goat and rear legs, hairy thighs and a darker skin color (N.A. Kun Legends and myths of Ancient Greece 2005:108) All of this are in the "Imprimerie Cassan Fils" poster. The skin of a young man darker than usual, his curly dark hair resemble horns and fat, dark pants at the hips remind us of the dark fur goat legs of Faun. Faun is the god of fertility in Greek mythology; he was guarding the forest, the woman prayed to him about the children, and the shepherds on the replenishment of the herd. Not for nothing in the “Peace and War” in the hands of a Faun is cornucopia and in the poster for "Imprimerie Cassan Fils" in his hands is the lithographic press. Alphonse Mucha created a new god of their time?

 

 

 

 

“Peace and War” 1629 -1630 Fragment 2 "Imprimerie Cassan Fils",1896

by Peter Paul Rubens. by Alphonse Mucha.

Cofactors

The final touches to the style of Alphonse Mucha were the appearance in his life the Art Nouveau style, which appeared in late 19th and early 20th centuries (Mucha 2012: 20). Stylistic features of Art Nouveau were the refusal of sharp lines and angles in favor of more natural smooth motion. The stylistic orientation based on ornamental wavy lines and natural forms and animal origin perfectly merged with passion of Mucha for Baroque. The combination of color and genre features of Baroque melodic smoothness and abstract forms of Art Nouveau style became the basis of the posters by Alphonse Mucha. However, the final push toward appearing the unique poster style of Alphonse Mucha was the appearance in his life of lithography. Bavarian Alois Zenelferder invented this printing technique in 1798. It is this technique became the basic appearance of the poster as a method of advertising. Zenelferder made his discovery by accident, he usually left to his mother the laundry list, written by oily pencil on the small stone. Bavarian later noticed that even when the pencil is washed away from the stone the sticky residue is still were and it repels the moisture. Lithography allows you to copy the posters many times without loss of quality of the final image. This marked the beginning of the formation of the poster as a genre of visual advertising.

According to Jiri Mucha, the Alphonse's son: "His style was born suddenly, matured in one night, without the preceding basic research." (Mucha 2012: 25). Accidental or not, but the coincidence of all these factors led to a unique style of Alphonse Mucha in which he developed another his talent: talent of visual dialogue of advertising.



 

Advertising.

"Advertising - is a tool by which the consumer is given such information, which prompts him to buy the advertised product." - said S.N. Roshupkin (Language of Advertising 2003: 7). In this book, the author argues that there are three basic methods to attract viewers' attention to the posters. The first – main artistic figure, the second - commonly understood symbols, the third - the font. Alphonse Mucha follows this thesis in 1896 creating the advertising posters for the poster for "Imprimerie Cassan Fils",1896. His main artistic figure uses the primitive people's desire while creating the main artistic figure to attract attention to their product. At a time when the overwhelming percentages of paying customers were men, the use of a naked female nature was clearly a victory.
Earlier in 1891, the Toulouse Lautrec attempted to use a provocative image in its posters for the poster Moulin-Rouge (La Goulue), 1891(Theodore B. Donson and Marvel M.Griep, 1983). In comparison with the posters by Alphonse Mucha, a poster for the Moulin Rouge seem less provocative than it seemed at the time of its creation. We can only guess whether it was the impetus for Mucha to such a vulgar representation of women in advertising, or the reason for this was his passion for Baroque, but in any case it was a step forward. It is not known exactly who has served as a model for this poster. Alphonse Mucha was always writing his paintings from models, but he didn’t use the original women, but the photography of them. So it is difficult to say from whom it was pained the poster for "Imprimerie Cassan Fils",, but looking up for his enthusiasm at the time for the actress Sarah Bernhardt, who was at the peak of its popularity in 1860, it is possible to assume that it is her why was the basis of this image.

 

 

Moulin-Rouge (La Goulue), Fragment 2 "Imprimerie Cassan Fils",1896

Poster by Toulouse Lautrec, 1891. by Alphonse Mucha.

 

Also this figure is part of the main symbol, which laid as the basis for the whole composition. In this poster, we see the two main characters. Half-naked lady, sitting half-turned to the man working at the printing press, as was already mentioned, refer to the ancient theme, which fill the entire atmosphere inside the poster with languid expectation. Their posture and dumb dialogue draws the viewer inside the painting. This strong character tells the audience about the tradition and quality that keeps the "Imprimerie Cassan Fils", 1896. For the plot in the center of the composition is watching the second character: mosaic eyes located on the arch on the background. They are symbols of spectators gazed on the process of work and the result. Association of the eye with the viewer came from ancient times the eye of Pharaoh, as well as from the eye of masons. Each of them means power, higher power watching over each of the people.
These public symbols are addressed directly to the buyer and convey to him secondary product information.

 

 

 

The All-Seeing Eye Fragment 3 "Imprimerie Cassan Fils",1896

by Alphonse Mucha.

 

However, the most important information to the buyer always presented words. Font basic method of presenting to the viewer the information where and what items they need to buy. Here hides the third factor of a good poster (Language of Advertising 2003: 69). It is difficult to combine the artistic image and the text so that them won’t get in conflict and so that they won’t be only complement to each other. The font in the posters by Alphonse Mucha is an essential part of the image. Font for "Imprimerie Cassan Fils", 1896 is a cursive letters resemble gorgeous, perfect balance of smoothness and stability. This font has been found in the gospel of the Italian sixth century, which is the most interesting fact is that Rubens, whose work is so reminiscent of the work of Alphonse Mucha, finished his education directly in Italy (Graham Leslie Makkelem. 2009:39)

 

Conclusion.

Summarizing hard not to notice that the poster for "Imprimerie Cassan Fils", seems full of random matches. In many ways it is an innovative, but also largely keeps covenant and follows the traditions of antiquity. This work can rightly be called unique. It is the result of not only the needs of the customer but in a good advertisement, but also reflects the personal story of its author. He's like a cocoon woven of many hobbies Mucha, which is what makes it unique.

 

 

Reference list.

N.A Kuhn (2005) Legends and myths of ancient Greece. Moscow. "Firm STD"

S.N Roshupkin (2003) Language advertising. Moscow. "Moment"

Graham Leslie Makkelem (2009) 4000 motifs of letters. Moscow. “ASTREL”

MuchaEstate (2012) Mucha “Magma”

M.Gordeeva (2009) Great artists. Peter Paul Rubens. “Komsomol truth”

Theodore B. Donson, Marvel M. Griepp (1982) Great Lithographs by Toulouse-Lautrec. «Courier Corporation»

 

List of Figures.

Figure 1 - "Imprimerie Cassan Fils",Alphonse Mucha. (1896)

Figure 2 - “Peace and War” Peter Paul Rubens. (1629 -1630)

Figure 3 - Moulin-Rouge (La Goulue), Toulouse Lautrec. (1891)

Figure 4 - “The Union of Earth and Water” Peter Paul Rubens. (1618)


Faculty of Science, Technology and Creative Arts


Date: 2016-01-03; view: 1289


<== previous page | next page ==>
Reflection of Baroque. | Assignment Details.
doclecture.net - lectures - 2014-2024 year. Copyright infringement or personal data (0.01 sec.)