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Alphonse Mucha was primarily known for his work on commercial posters and advertisements, though he also dabbled in other mediums such as furniture, theatrical sets, and jewelry. Women were his primary subject, specifically the “new woman,” which celebrated femininity and the socially empowered and engaged woman. Though Mucha rejected the Art Nouveau label, his style was a major influence on the movement.

His lithograph, Gismonda, had a large impact on Art Nouveau. This piece was created for the eponymous Renaissance play by Victorien Sardou. The woman in the poster, Sarah Bernhardt, wears a costume from the fourth and final act of the play. She was the single most influential figure in Mucha’s work.

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Mucha’s advertisement for the Job cigarette company illustrates the idea that "sex sells": a voluptuous woman holds a lit cigarette, as her closed eyes and parted lips suggest ecstasy. The very fact that this woman is smoking could be seen as scandalous, as few respectable women of the time would smoke in public.

Mucha has the woman expressing an emotion akin to sexual pleasure from partaking in an activity previously linked to masculine virility. In this art, a modern woman seems to be getting a sense of social authority. Indeed, by Mucha depicting her as both freely expressing sexuality and boasting a phallic symbol in the form of a lit cigarette, he is conveying to the viewer a shift toward social empowerment through behaviors typically associated with masculinity—and thus power. The new idea of the ideal woman having some social power was in direct contradiction to the prior feminine ideal of an acceptance of a passive, dismal fate. So when artists of the Art Nouveau movement reflected a shift in female sexuality, they were paying heed to the emergence of a “new woman” in Western society.

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The piece depicts a young girl scarcely clothed in a swirl of almost-translucent fabric, positioned in way that emphasizes her shoulders, back, buttocks, and breasts. Mucha eroticized her hair through sensual, organic lines, accompanied by floral ornamentation. Even so, the figure’s face expresses a sense of docile purity. In this way, the work offers the viewer an expectation of innocence within the “ideal” female. By illustrating women in this light, Mucha presented the woman of his day as encompassing both seductive and pure qualities—contrasting highly with the docile wholesomeness expected of women during the middle of the nineteenth century.

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Mucha's daughter, Jiri, once wrote “A woman, for him, was not a body, but beauty incorporated in matter and acting through matter. That is why all his female figures, however solid, are not really of this world. They are symbols, unattainable dreams, like Sarah [Bernhardt] when she came on to the stage, or died in the role of La Dame aux Camelias.”

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Art Nouveau is an international art and design style popular from the 1890s to World War I. It's characterized by flowing lines, organic shapes, and rejecting historicist styles. The natural world inspired the style, including botanical studies and illustrations of deep-sea organisms.

Art Nouveau’s origins can be traced back to the Arts and Crafts movement, a reaction to the academic art styles of the 19th century. An influx of Japanese woodblock prints that contained floral motifs and strong curves also influenced the style. Art Nouveau remained popular until 1905, but today is considered an important predecessor to Modernism.

The distinguishing characteristic of Art Nouveau is its undulating asymmetrical line, often taking the form of flower stalks and buds, vine tendrils, insect wings, and other delicate and sinuous natural objects; the line may be elegant and graceful or infused with a powerfully rhythmic and whiplike force. In the graphic arts the line subordinates all other pictorial elements—form, texture, space, and color—to its own decorative effect. In architecture and the other plastic arts, the whole of the three-dimensional form becomes engulfed in the organic, linear rhythm, creating a fusion between structure and ornament. Architecture particularly shows this synthesis of ornament and structure; a liberal combination of materials—ironwork, glass, ceramic, and brickwork—was employed, for example, in the creation of unified interiors in which columns and beams became thick vines with spreading tendrils and windows became both openings for light and air and membranous outgrowths of the organic whole. This approach was directly opposed to the traditional architectural values of reason and clarity of structure.

After 1910 Art Nouveau appeared old-fashioned and limited and was generally abandoned as a distinct decorative style.

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(浮世絵, Japanese: [u.ki.jo.e], “pictures of the floating world”), is a genre of art that flourished in Japan from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica.

From the 1870s Japonism became a prominent trend and had a strong influence on the early Impressionists such as Degas, Manet, and Monet, as well as Art Nouveau artists such as Toulouse-Lautrec.

You can see the stylistic influence of the Japanese Ukiyo-e artist Utagawa Toyokuni (1769–1825) on the Czech artist Alfonse Mucha (1860–1939).

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The personal life of French stage and film actress Sarah Bernhardt (1844-1923) was as dramatic as her acting career. She was an icon of Art Nouveau style whose image endorsed a variety of products including cosmetics, clothing, and food items like Lefèvre-Utile biscuits. Female celebrities like Bernhardt were important muses for many artists and there was great interest in artists like the nightclub performer Jane Avril and the dancer Loie Fuller.

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One of the means through which Art Nouveau reached a mass audience was the poster. It was used to promote products and entertainment and assumed new heights of artistic expression in the late nineteenth century. Printing technologies such as multiple-color lithography allowed for a more sophisticated range of tones, attracting painters to the medium.

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Art Nouveau artists and designers depicted women in highly idealized, feminine, and seductive forms. Slender, attractive - and often naked - women with flowing hair featured heavily in Art Nouveau jewelry, paintings, and printed works. Advertising played an influential role in determining how the public perceived women and, just as today, they used the female body to sell lifestyles and products to consumers.

In tune with contemporary artistic developments, many artists working in the Art Nouveau style portrayed women mystically and symbolically. European culture’s fascination with psychology and symbolism at this time had its origins in decadent poetry and literature, and the writings of Sigmund Freud. Freud’s theories of the unconscious and the interpretation of dreams offered visual artists exciting new subjects to explore. Many artists rejected the constraints of realism and turned instead to the inner world.

The notion of Woman as the embodiment of purity, or its opposite, was a common theme in art and literature of the fin de siecle period. Women were often portrayed as ethereal, seductive, and deadly beings like Medusa and Salome.

Art Nouveau artists portrayed women in symbolic roles that represented good and evil, often simultaneously. In the past, the concept of female purity dominated the interpretation of women in art. However, the emergence of women’s sexual liberation created tension because it went against the requirements of female purity that had controlled women in the past. Through symbolism, the artists of Art Nouveau revealed the idealized modern woman in a way that evoked dual qualities associated with both temptress and virgin

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In contrast to the sexual take on the female form art nouveau takes on, women in the period were branching out. They became more independent, and a growing number of metropolitan middle-class women enjoyed a disposable income. Women’s fashion changed as the dress reform movement gathered momentum. Art Nouveau fashion designers developed female clothing with less restrictive, lighter, and easier-to-wear designs. Soft, gauzy fabrics and sinuous lines in modern shades were worn, and after 1900, a new corset style created an S-shape silhouette.

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Western fantasy of the oriental woman originates from two areas: the Middle East and Japan. During the colonial conquest, an interest developed in all types of exoticism, and Western men were fascinated by these dreamlike oriental beauties. Artists began to develop a figure that embodied all the sensualities otherwise forbidden by Western bourgeois society.
Whether they were geishas or odalisques, these beautiful oriental women, muses of a new genre, incited desire more than love.
From 1860, Japanese prints influenced western artists who were seduced by the flat colors, the displaced composition of the subject, and the clear line of the drawing.
Art Nouveau could not escape the influence of this source of graphical and technical inspiration, leading to the mass production of high-quality engravings and lithographs.
Byzantine goddesses and scenes of ancient Greece or Rome populated by young women draped in white were discovered.
The result was a timeless and pure figure often wearing a laurel wreath, added as a finishing touch. Musicians, dancers, and sculptors were an ever-recurrent theme from both famous and unknown talented illustrators. Many such postcards were not signed but were produced in very large quantities by Viennese publishers. Whether portrayed as flighty and carefree or as a person to be glorified, the image of the woman encouraged housewives to spend their money.

The Art Nouveau woman was an ideal dreamed up by her creators, but she could also be a caricature. Curves, counter-curves, and symbols of Art Nouveau were prevalent in creating an outline of the female figure to the point where her body was an "S" shape. The corset projected her chest forward, her waist was pulled in tightly, and her pose artificially exaggerated the buttocks.
As an object and muse, the Art Nouveau woman existed only in the eyes of the artists and not through herself. Even following emancipation, the illustrators placed her in a series of highly aesthetic representations that said nothing about the change in women's status at the dawn of the new century.

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Art Nouveau was the first style that tried to deal with modern psychology and sexuality. One could say that Art Nouveau was an emotional style. It found worldwide appeal at the turn of the century with idea that one can have an erotic wardrobe, or a sexy chair, or a tragic book. Emotion in design is something we’ve moved away from in the twenty-first century, with our love of technology and impersonal communication. But the whole range of emotions were expressed through everyday objects in Art Nouveau, from immersive experiences of nature to Aubrey Beardsley’s erotic drawings.

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This depiction of women’s hair, how it was let down in this loose array of graceful curves at a time when societal norms acquired women to have their hair in a bun and women would only let their hair down in their private homes amongst their closest associates (often only their husbands), is seen by most to be an extension of the erotic qualities already associated to women at that time, a way to portray women as sexual objects and a last resort measure to anchor women to their traditional places at a time when the suffragettes were chaining themselves in protest and women were finally waking up to the idea of their individuality and sexuality.

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Nineteenth-century art reflects the day’s notions of idealized, subservient femininity. At that time, women were portrayed in art as pious, docile mothers and homemakers. Women’s primary concerns in the mid-1800s were supposed to be domesticity and moral virtue. The prominent “cult of domesticity” associated with the female role in Western culture until the late 1800s came largely as a result of the “new monied middle class” birthed by the Industrial Revolution. During this time, more people were able to subsist on a single income. As domestic confinements persistently contained women in selfless subjugation the Western world restricted women’s access to the public sphere. The submissive role thrust upon the wives and daughters in Western society reinforced the perceived relationship between womanhood and purity.

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Nineteenth-century art reflects the day’s notions of idealized, subservient femininity. At that time, women were portrayed in art as pious, docile mothers and homemakers. In contrast, at the start of the twentieth century, art provided a more progressive concept of ideal femininity. Art of that time shows women as liberated, both socially and sexually. Although turn-of the-century imagery marked the progression of women into the public sphere, it also served as evidence of an ideology in which ideal femininity had a primarily decorative role in society.

Sigmund Freud (the “founding father” of psychoanalysis) describes the era’s feminine ideal as a woman having a docile, subservient, and agreeable personality—yet also she must exhibit intelligence and have “masculine” aspirations of a career and accomplishments.

Modernity cast women in new roles of sexual objectification. Men became sexually fascinated with them now that they were out in the public sphere and subject to the male gaze. The femme nouvelle became increasingly popular in culture. The new expression of the female form became the so-called “poster girl” for the movement.

Feminist scholars have pointed out that “the growth of urban and industrial culture helped to disrupt traditional gender roles by depriving them of their natural and God-given quality, even as the doctrine of separate spheres sought to reign in and stabilize this ambiguity. Industrialization and urbanization indeed allowed women increased access to the public sphere. Women were allowed societal roles outside the traditional expectations of domesticity and servitude. Women were increasingly subject to being objectified by men as women entered the public sphere. In art, the female form became decorative.

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The twentieth century began with a realization that the restricting character of how women were depicted and how the norm for women’s appearances is intended to keep them on a short leash rather than to allow free movement. Globally, women were finally beginning to lose their corsets and attempted to adopt trousers through Amelia Bloomer’s Bloomerites or Lady Haberton’s Rational Dress Society, and most importantly of all, women were finally letting their hair down and not having them in the tight buns they have been in for centuries. This freedom of the way women dressed and styled themselves, further encouraged by Art Nouveau’s seemingly “cheap” portrayal of themselves was paralleled with the growing freedom of women's behavior. Women were now battling to gain political and economic independence, taking their place in the male-dominated world, and educating themselves for professional careers.

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Alice Russell Glenny (1858–1924) was an American graphic artist who was most renowned for her Art Nouveau posters. She was an outstanding figure in the arts in her hometown of Buffalo, New York.

Glenny was an active proponent for the interests of American women artists. She designed the iconic cover below for the magazine Buffalo Courier: Women’s Edition. Her work shows a woman with a Japanese-inspired hairstyle and a stern face looking away from the viewer. The color palette of the woman is pale and contrasts with the olive-green background. This, along with the fact that the ribbons form the shape of a Doric order column, creates a sense of classical revival. Her features are feminine, as are her hair and clothing, but the model maintains her staunch position on the issue of women’s rights.

Glenny made different variations of that poster for different audiences. Those different versions further prove the artist’s intention to blend high, classical art with modern pursuits. The reference Glenny makes to Grecian art is more overt, and her insistence on establishing rights for female artists ever clearer.

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Egon Schiele, , Reclining Woman With Green Stockings

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Egon Schiele, , Reclining Woman With Green Stockings

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Egon Schiele lived a short life, dying of influenza at the age of 28. Though his style was marked by elements of Expressionism, Schiele was heavily influenced by the work of Gustav Klimt. He served as both a friend and a mentor, leading to Schiele’s focus on the female figure.

His work, Reclining Woman With Green Stockings, emphasizes the female form in a traditional yet controversial way due the sexual pose. These unconventional depictions of young women often got Schiele in trouble, landing him in prison in 1912. The woman featured in Reclining Woman is a classic example of Schiele’s style, embracing figural distortion and defying conventional notions of beauty.

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I'm thinking about making an art nouveau poster for my physical design. Rather than a nearly naked woman, I'd like it to be more like Glenny's art, where the female subject is empowering. I'm unsure how I will do this yet. I'd like her to be in very androgynous clothing to step out of the norm for "what a woman is". To accomplish this, I feel I should take pictures of a subject and then draw them as a reference.

After giving it more thought, I've changed my mind about the poster. So many incredible female artists have been lost in history. I want to showcase all the amazing female artists I found throughout my research. I got the fun idea to make a sticker book featuring art from a variety of female artists from the Art Nouveau period. To accomplish this, I started by doing even more research into female artists at the time. These artists I came across truly inspired me- especially the McDonald sisters. My favorite artist out of the 5 I chose for my book was Gerda Wegener. Not only do I love her art style, but I find it highly endearing that the subject of most of her art is her trans-wife. To be producing art like this at the time was a brave and wonderful thing to do.

After concluding my research, I gathered artwork from each artist and separated them into different folders. I first went into Indesign to settle on a format. Most sticker books are vertical rectangles or squares in which pages turn from the top rather than the side. Rather than keeping to this format, I opted for a horizontal rectangle that opens like a normal book. Due to the quality of most of the art, an A5-sized book is more beneficial. Since it is such a small book, though, I didn't want to take up too much space introducing each artist. I decided to limit the amount of titles in each spread to one artist. I then went into Photoshop and removed the female subjects from the work I could- this was mainly Wegener and Atche's work. Most work was far too intricate to separate the subject from the background. I struggled to find high-quality versions of the art as it is so old and not well known. I think, regarding the circumstances, the cuts came out well! I felt it was important to have both the cut-outs and full pieces of art in the sticker book, so there was more variety and uniqueness. I spent quite a bit of time arranging and resizing the art onto the pages. Getting the balance of cut-out to square/rectangle art was a bit tricky, but I enjoyed it. After adding the stickers to each page, it was time for the titles! This was tricky for me. I struggle a lot with finding the right font. I went through many different art nouveau-inspired fonts, downloading them, inputting them into the design, spending a day or two looking and thinking about it, and getting second opinions until finally I found the type I settled on. I wanted a nice display font that was still legible but whimsy enough. I didn't want to put any of the stickers on the cover, as I feel that makes the book look a bit cheap. Rather, I felt the typography should carry the delicate but strong art that is inside the book but not take away from it when beside it. I paired the font I found with a sans serif font for the word "sticker book." I needed more of a balance on the cover and for the title to stand out from the subtitles. I think the two fonts I decided on work quite well together. Rather than keeping a consistant color scheme throughout the book, I knew each page had a very different vibe due to it being a different artist. To accentuate that, I color-picked each artist to find a happy medium that tied together each page. I placed this color underneath the artist's name on the side.

I mentioned on the title that I didn't want to use stickers. Instead, I opted for the same thick line I'd used underneath all the artist's titles. I knew that I was going to use glue to bind this book, so leaving a natural crease point felt important. I chose to cover the back and that colored strip with the same color as the last page in the book: a dark purple. With just the title and color strip, the cover felt unfinished. I looked back at all the decorative artwork for inspiration. Most art nouveau pieces have some form of organic background. I realized this is an element I had not yet added to my book. I blended in a beautiful floral artwork to the purple strip, wrapping it around the back of the book. Lastly, I added a couple of swirly lines to square out the title a bit and add more decoration to the space.

With that, I felt that my sticker book was ready to print! I ordered sticker paper online and went into the SBS store to purchase a couple of sheets of 270gsm paper for the front and back cover. Before printing, Zofia asked if I was making the sticker book because she'd like to buy one. That made me very excited to print the project! Printing didn't go quite as planned, as always. I arranged each a5 page onto an a4 sheet, two to a sheet. The printer kept messing up or getting jammed (sometimes, other times it worked perfectly fine...). I'm very glad I had lots of extra paper. After finally getting everything printed, I cut them first with the two way cutters, then arranged them before trimming them with the laser cutter (I don't think it's a laser cutter, but I don't remember what it could be). I then glued each page of the spine together and let it dry overnight. With the morning lighting I took photos of the book. I have this piece of reflective floral fabric on my desk that I thought would be a great background. I do think the trimming could've gone better with the book, the laser trimmer definitely messed things up a bit.. but I'm really happy with it! It's a sticker book I can use with artists I've come to truly love. This was a really fun project which I became more passionate about the more I researched.

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2000-2500 words

Outline

Introduction

~300-400 words

grabber, introduce the subject, introduce the paradox

1st para

~400 words

art nouveau: background, history, time period, stylistic description, art advancement, etc

2nd para

~300-400 words

an introduction to the mindset surrounding women at the time- how they felt about change themselves, how society felt about them, men, etc. How are they portrayed in art? How were they portrayed before? How has the style shifted this portrayal? Is this a good or bad thing?

3rd para

~300-400 words

discuss alphonse mucha- a bit on his background, but mainly his style, his impact on the movement, and his "ideal women"

4th para

~400 words

introduce the audience to a couple of female art nouveau artists!

conclusion

~400 words

summarize what art nouveau is, what it accomplished, how this shifted society, dig deeper into how it affected the image of woman, and question it!

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Gerda Wegener was a Danish painter best known for her progressive feminist portraits. Steeped in Art Deco aesthetics, her paintings were considered radical for their engagement with gender, identity, and sexuality. Reversing the traditional art history model of the male gaze, Wegener gazes upon women with a different eroticism and admiration for her female subjects, whom she depicted as powerful individuals. Born Gerda Marie Fredrikke Gottlieb on March 15, 1886 in Hammelev, Denmark, she moved to Copenhagen to attend the Royal Danish Academy of Fine Arts. While attending school, she met her future husband and muse Einar Wegener, who would later transition genders to become Lili Elbe. The couple married in 1904 and settled in Paris in 1912. Wegener’s portraits of Elbe brought her acclaim, as did her erotic illustrations and glass mosaics for Parisian patrons. She went on to win two gold medals and one bronze for her work at the World’s Fair in 1925. After Elbe’s death in 1931, however she struggled to support herself and moved back to Denmark. The artist died on July 28, 1940 in Frederiksberg, Denmark at the age of 54.  David Ebershoff's 2000 novel The Danish Girl was based upon the life of Lili Elbe and her relationship with Wegener.

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Élisabeth Sonrel, born in 1874 in Tours, was a painter of allegorical subjects of Art Nouveau style, with mystical and symbolist influences, portraits and landscapes. His father Nicolas Stéphane Sonrel taught her the art of painting. She continued her artistic training in Paris at the School of Fine Arts and became a student of Jules Lefebvre. In 1892, she made Pax and Laborfor her final exam, which was later exhibited at the Museum of Fine Arts in Tour.

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Margaret Macdonald Mackintosh (1864–1933), painter and designer, was one of the most successful of the artist-designers later called the 'Glasgow Girls'. She produced watercolours, graphics, and panels in gesso (plaster), beaten metal and textile, much of this in collaboration with her sister, Frances Macdonald (1874–1921), James Herbert McNair (1868–1955) and Charles Rennie Mackintosh. During the 1890s, Macdonald produced wide-ranging and innovative work in watercolours, graphics, and metalwork, much of this carried out in collaboration with Frances Macdonald and Herbert McNair. The designs are characterised by distinctive stylisations of human and plant forms, creating linear, often symmetrical patterns from interlocking limbs, swirling hair and tendrils.

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Frances Macdonald McNair (1873–1921), watercolor painter and designer, was the younger sister of Margaret Macdonald. During the 1890s, Macdonald produced wide-ranging and innovative work in watercolours, graphics, and metalwork, much of this carried out in collaboration with Margaret Macdonald and McNair. The designs are characterised by distinctive stylisations of human and plant forms, creating linear, often symmetrical patterns from interlocking limbs, swirling hair and tendrils. The work of the later 1890s, notably The Four Seasons and the illustrations to the Defence of Guenevere and Other Poems by William Morris – both in collaboration with Margaret Macdonald – is more overtly decorative.