Mucha’s fine art instruction was funded by Count Khuen-Belasi in Munich, where he kept working as an artist, most significantly for Krokodil magazine, where he established his characteristic calligraphic style.
Alphonse Mucha’s women were full of life; unlike the Symbolist “femme fatales”, his women are not a perilous temptation to be eschewed. His unique decorative panels pushed art even deeper into people’s homes.
Mucha finished his last piece in the series in 1926, depicting Christ protecting the new republic beneath a rainbow of peace. As a “reactionary”, he was investigated by the Gestapo and died in 1939, already ill from a lung infection.
His art is opulent and ornamental, with importance placed on intricate designs and patterns. He often used pastel colors and a flattened, two-dimensional approach that accentuated his art’s ornamental character.