I have often defined the art as “woman,” but what about the women portrayed in art?
With over 220 works, Alfons Mucha arrived in Milan with an exhibition dedicated to the art nouveau atmosphere, produced and organized by Palazzo Reale in Milan, Palazzo Ducale Foundation for Culture of Genoa and 24 ORE Cultura – Gruppo 24 Ore, curated by Karel SRP.
 From the sacred to the profane, from the theater stage to everyday life, from space to time, from japonism the European spirit, the femme fatale to the woman-flower … This is the exhibition of contrasts and as such I decided to investigate it.
The solemn entrance immediately becomes lyrical. With “Les Arts”, among the pastel colors of the walls, a theory of Art is revealed to the viewer. I see the Japanese inspiration in the chair by Bugatti, modern geometries in the chair by Baillie, floral element in the desk by Basile and stop holding out my ear to the “Piano” by Issel … at the moment there’s no answer.

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

The Art by Alfons Mucha has always been devoted to the theater. The icon of the first poster is “Gismonda” from the opera play by Victor Sardou, starring Sarah Bernhardt. 
The success of 1894 comes from a particular author’s ability to make use of the cultural tradition in Wien and Munich and at the same, to embrace the principles of the Paris bohème, to link academic training to its decorative skills for illustrations and magazines, to appreciate the human figure as the written word. Alfons Mucha is a great communicator, not just an artist.
 He treats women as “precious stones.”
 Since the topical dichotomy of woman-angel and woman-evil enchantress there were born the woman-dance, woman-time, woman-animal, woman-flower, woman-gem , woman-Goddess, femme fatale…

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie VezzosiWhile “La Dame aux Camélias” turns her gaze beyond the terrace, “Lorenzaccio” sits thoughtfully and masculine in her hidden femininity and “Hamlet”; “Medée” appears in its killing crudeness , “La Samaritaine” is prophetic in her evangelical beauty and “Amants” are free and have fun in their lust. I look into the eyes each of these characters and observe their apparent two-dimensionality … But how is it possible to transform a line in the song of a mermaid of Ulysses?

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

Among his abilities, Alfons Mucha also managed to transform everyday products into divine gifts. And so “Vin des Incas” is without wine, “Biscuits” Lefèvre-Utile “are without cookies and” Cycles Perfecta “is almost with no bicycle …


“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

The art of Alfons Mucha is precious and follows certain dogmas, principles and values ​​encoded in his “Documents Décoratifs”. His women, his lines and his words, his materials are luxurious. For any different material an object “should be tuned on a different diapason”.

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

And so the magazine “Le Japon Artistique” manifests itself and is tangible through the ceramics of Galileo Chini and Achille Calzi, their water lilies, their carps, their flora and their fauna are found to inhabit vases, plates and panels up to reflect in a mirror (real and not of water) of the “Flower pot” by Carlo Zen.
I see dragonflies in flight. Fantasy, imagination? It is the pure reality of a etched glass of a vase by Daum glassware.

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

Among the natural time and historical time there is the mythical time. To complete the legend of the Mucha’s inventions is the zoomorphic element, considered secondary, but for the modernism of primary importance because of its symbolic value and as a decorative element, the heart of Art Nouveau.

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Art is eternal, it can not be new.”
In Alfons Mucha also time becomes double. In his work can be found obvious differences arising from his dual interests: on one side the allegories of the day’s phases and of the seasons, on the other the historical events.

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

The “Time” of Mucha escapes in the hands of the girls that he himself represents. Sometimes it’s like the wind (v. “Le vent qui passe emporte la jeunesse”), other times like a woman with a mature face and voluptuous hair, others is timeless as in the “Rêverie” manifesto.


“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

So while I discovered Bachelard and his “Poetics”, I got lost in looking into the eyes of daydreaming, and I found mine. I was often confused in reading “Sleep” and “Night Sleep” as title translations of the work of the dreamy name, but I’ve always told myself that perhaps is due to the fact that men often are not able to dream … “Which other psychological freedom we enjoy in addition to the one to fantasize? Psychologically speaking, it is precisely in rêveries that we are free beings. “

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

 

 

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

 

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

 

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

“Alfons Mucha e le atmosfere art nouveau” Palazzo Reale, Milano, Eloisa Reverie Vezzosi

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Credits
Special thanks to:
ETRO
Atelier Alessandro Mendini, Elisa & Fulvia Mendini – “Stilemi Enigmatici”
Stefania Coltro, Caslini Elena – 24 ORE Cultura

Photo: Carlotta Coppo – Official Facebook Page
Hair: Grazia Basso Milano

AMOinfo:
Alfons Mucha e le atmosfere art nouveau”
Palazzo Reale, Milano
untill 20 marzo 2016
An exhibition promoted by: Comune di Milano‐Cultura, Genova Palazzo Ducale Fondazione per la cultura e 24 ORE Cultura
In collaboration with: Richard Fuxa Foundation e Centro di Ricerca Rossana Bossaglia, Dipartimento Culture e Civiltà, Università di Verona
Cureted by: Karel SRP, Stefania Cretella

AMOlink:
www.mostramucha.it
www.palazzorealemilano.it