Alphonse Mucha personifies Autumn as a nymph from Greek mythology in his work “Seasons”.

Alphonse Mucha’s work personifies this season as a mythological figure. An Autumn declined in the feminine is painted by Alphonse Mucha in 1896, in the first series of his decorative panels dedicated to the seasons (Mucha Museum Prague, mucha.cz). The artist, born in Moravia, had been consecrated a year earlier in Paris as master of Art Nouveau thanks to the poster designed for Sarah Bernardt as Gismonda, the protagonist of a drama in vogue at the time. Mucha personifies Autumn as a nymph of Greek mythology and pours into the figure what will later become the stylistic features of his decorative and advertising production. The elegant and supple body is that of the models that the artist photographed before painting them. Red hair crowned with a garland of chrysanthemums evokes the women of the Pre-Raphaelites. The marked and stylized contours accompanied by the realist drawing are reminiscent of those of Japanese prints, already discovered by the Impressionists. The influence of Gaelic manuscripts is reflected in the endless arabesques and the influence of Byzantine mosaics is reflected in the jewels.

The Autumn painting combined with feminine features has seasonal features. These are the colors of ruby, brick sand, the color of pale greens and a rich swamp hue. The sadness of the ending summer is erased by the presence of a woman. Its image and fertility increase well-being. Harvest and bunches of grapes will soon turn into rich and delicious wine. The fruits on the ceramic plate symbolize the fertility of the harvest. The silence and peace of an autumn evening prevails in the air. A symbolic vine and wooden pegs are featured in the work as the protagonists of Autumn with the colors of sand or earth.

The technique he uses is not about painting in the traditional sense. This is a solid color print that the master likes to work with. A masterful mastery of technology fascinates the audience. Alphonse Mucha does with colors what Vivaldi did through his notes. Grape threads intertwine with stylized floral patterns. All contours flow into each other, completing the overall picture.

We catch cues in contrasting shadows and sunlight. This woman is not poor, nor is she rich. A modest Byzantine style adorns a slender neck with a modest speck. Even dry asters on virgin hair look richer and more refined. The dress is simple and unpretentious, cotton, a thin and flowing canvas. Everything harmoniously fits into the solid and generous picture of earthly autumn. Calm, pale, but beautiful in her own way…