The apotheosis of the history of the Slavs. From the series "the Slav epic"

Alfonse Mucha • Painting, 1925, 480×405 cm
About the artwork
Art form: Painting
Subject and objects: Allegorical scene, Historical scene
Style of art: Art Nouveau
Technique: Oil
Materials: Canvas
Date of creation: 1925
Size: 480×405 cm
Artwork in collection: Alphonse Maria Mucha Olga Potekhina
Artwork in selections: 39 selections

Description of the artwork «The apotheosis of the history of the Slavs. From the series "the Slav epic"»

In 1906, Alphonse Mucha left Paris driven by a dream to write a giant canvas for his people. In the United States he came to earn money to fulfill this dream. But in the end found here generous investor who agreed to Fund not one, but a series of paintings called The Slav epic. Picture "The apotheosis of the history of the Slavs" is a spectacular finishing touch of this cycle. Despite the tragic fragments, it is filled with joy and feeling of freedom.

In the "Apotheosis" Fly uses four colors to represent different eras in the history of the Slavs. Ghostly silhouettes in a blue haze in the lower right corner of the painting symbolize the ancient times. The red color prevails in the "medieval" portion of the statement. Dark black shapes oppressors and oppressors, suffered by the Slavic peoples at different times. And finally, all shades of yellow and gold – a symbol of freedom and happiness.

While working on the Slav epic, Mucha traveled extensively in Eastern Europe, armed with a camera. He meticulously double-checked every detail, consulted with historians and studied the reference books. In these pictures you cannot find any inaccuracies in the weapons or furnishings, costumes, or even embroidery.

Very interesting was the method by which the Fly moved the image from small sketches to huge canvases. Sketches the artist did in watercolour and gouache. He then took the tracing paper, lined it with mesh and the segments transferred to her figure. Next, along each line drawing were made small holes. Tracing paper was applied to the canvas, and these holes were sprayed coal, after which it remained only to connect the resulting points with lines. As the basis of the Fly used for egg tempera, and most of the parts discharged oil.

Author: Eugene Sidelnikov