Maurice de Brunhoff, the chief printer at Parisian graphic-design company Lemercier, had a problem with the Divine. Not quite God, but the next rung down: Sarah Bernhardt. The temperamental diva of the Parisian stage had called to place an order for posters of the latest melodrama in which she starred, Gismonda.
Only, it was December 26, 1894, and the Divine Sarah wanted the posters up by New Year’s Day — or so legend has it. De Brunhoff had little choice but to make do with the one man at hand, Alphonse Mucha (1860–1939), a Czech émigré who was on the premises to correct some lithographic proofs.
He packed him off to the theatre — a feat that required the rather down-at-heel Mucha to borrow an old opera hat that kept falling over his eyes as he tried to sketch the actress — and hoped for the best. Once the proof came back, however, de Brunhoff was horrified. ‘Mais, mon Dieu!’ the artist’s son, Jiři, quoted him as saying in Alphonse Mucha: his life and art. ‘It’s a shambles. Sarah will never accept it.’
The last-minute, golden ‘Gismonda’ poster that won the heart of demanding actress Sarah Bernhardt in 1895.
(Image credit: Alamy)
When theatre staff urgently summoned him and de Brunhoff, Mucha thought his career was over. He was wrong. ‘My poster was up on the wall, Sarah was standing in front of it, unable to tear her eyes away. When she saw me, she came and embraced me. In short, no disgrace, but success, great success.’ Even more, in fact, than he had anticipated: ‘The public’s appetite was immense; the posters were torn away or cut off walls with razors,’ notes Arthur Ellridge in Mucha: The Triumph of Art Nouveau.
So taken was Bernhardt with her golden picture that she put Mucha under contract and had him design not only posters, but also stage sets, costumes and even menus for her glamorous dinner parties.
Alphonse Mucha’s self-portrait from 1899. It lives in the Mucha Museum, in Prague, Czech Republic.
(Image credit: Fine Art Images/Heritage Images/Getty Images)
Her seal of approval made the artist famous overnight. Suddenly, the one-time clerk who had been sacked from a court registrar post in his native Moravia for embellishing a record with portraits of the defendants and who in earlier years had survived on lentils and the generosity of his landlady, café owner Charlotte Caron, had a queue at his door.
Everyone, from Champagne houses to biscuits manufacturers and railway companies wanted a poster in le style Mucha — including Nestlé, then a maker of infant food, which commissioned him a design to mark Queen Victoria’s Diamond Jubilee. In a bold palette centred on a very regal red — an unusual choice for him — he imagined one of his distinctive, leaf-wreathed women holding a crown in her hands, as if poised to place it on the head of the Queen, against a backdrop of smoking factories and ships that hinted at the foundations of Britain’s wealth.
Although most celebrated for his graphic work, Mucha also embraced sculpture and the decorative arts, drawing at will from Byzantine, Celtic, Japanese, Rococo and Czech motifs to design everything from cutlery to textiles, stained-glass windows and jewellery.
Mucha grew up in an environment of intense Czech nationalism in all the Arts, from music to literature and painting, and he designed posters for patriotic rallies.
(Image credit: Fine Art Images/Heritage Images via Getty Images)
‘The Seasons: Spring’, 1896, by Alphonse Mucha.
(Image credit: Alamy)
One of his greatest artistic collaborations was with goldsmith Georges Fouquet, who, having taken over the business from his father Alphonse, turned his back on tradition and firmly embraced Art Nouveau. It was the serpent bracelet Mucha had designed for Bernhardt’s poster of Medea that led, in 1899, to the first piece he and Fouquet made together: a gold snake, its head designed to rest on the top of the hand and linked by fine chains to a ring encrusted with opal mosaics, diamonds and rubies.
Many of Mucha’s jewellery designs were inspired by nature — an exquisite gold, opal, sapphire and diamond necklace ending in a pendant shaped like fuchsia flowers, a ring curling like a fern frond, a cloisonné enamel brooch shaped like a sycamore seed, its wings exquisitely iridescent. Others, often brooches, drew from his repertoire of beautiful, wreathed women. All were striking: ‘Mucha’s work is monumental,’ wrote in 1902 poet and critic Gustave Kahn. ‘His jewellery bears no resemblance to the charming baubles made by his imitators. Each object is a masterpiece and gives an impression of solidity and force.’
As the perfect showcase for these extraordinary pieces, Fouquet also commissioned the artist the complete designs — from furniture to lighting — for his new shop in Paris’s Rue Royale. And what a shop it was. Welcoming visitors at the door was a huge female figure, hair streaming down her back, body draped in transparent veils. Inside, two sculpted peacocks, tail fanned, surveyed the room: ‘Yes, the creations of Art Nouveau require a new kind of framework, a framework which will set the artwork off effectively and which will thus create a harmony,’ wrote in 1901 Revue de la Bijouterie. Everyone thinks so, everyone says so… Everyone hesitates, everyone waits… And now, suddenly, someone has been brave enough to make it a reality. He has opened a new kind of shop in the very heart of Paris. He has raised it to the level of his art, furnished it in accordance with the canon of his soul’.
Visitors look at paintings of Mucha’s ‘Slav Epic’, a cycle of 20 allegories tracing the history of the Slavic people and inspired in part by mythology, at the National Gallery in Prague, in 2012. The artist spent 18 years on the series of paintings, from 1910 to 1928.
(Image credit: Michal Cizek/AFP/GettyImages)
One of the highest moments of Mucha’s collaboration with Fouquet was the collection they presented at Paris’s Exposition Universelle in 1900, a set of rich, golden pieces so flamboyant as to be tricky to wear. However, the Expo sowed the seeds of a dramatic change in the artist’s career. Mucha had also been asked to decorate the Bosnia‐Herzegovina Pavilion and it was when working on it that he first entertained the idea that would absorb him in his mature years: painting an epic cycle on the history of the Slavic nations. Having found a patron in Chicago businessman Charles Crane, the artist, who had by then moved to Zbiroh Castle, in Bohemia, began to work on the cycle in 1911, embracing a style that combined realism with symbolism and looked very different from his earlier Art Nouveau approach. It took him more than a decade to complete the Epic, which turns 100 this year, and in 1928, he and Crane presented the 20 monumental pictures to the City of Prague to mark the 10th anniversary of the independent Czechoslovak Republic.
However, fate, that fickle star, had in store a harsh blow. Mucha lived long enough to see his beloved country signed away to Hitler’s Germany on March 14, 1939, after which he was arrested by the Gestapo and interrogated. Although released shortly afterwards, he was broken in body and spirit and died on July 14, spared only the horrors of the Second World War.
This feature originally appeared in the March 11, 2026, issue of Country Life. Click here for more information on how to subscribe.
