Le Pater: Alphonse Mucha's Symbolist Masterpiece and the Lineage of Mysticism [Hardcover]


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      This giant 12 in. x 16 in. hardcover is printed to scale with Alphonse Mucha’s original artworks for Le Pater. Published in ultra-high resolution on fine cotton paper with advanced color correction, deluxe varnishes, and gilt highlighting to create a boutique keepsake volume. This version is also greatly expanded in its academic research with the addition of important and rare historical photos and a thorough decoding of the Judeo-Christian and Masonic Symbolism hidden in the artworks. Hardcover, 12” x 16”, 224 pages

      The superior contents of the 12 in. x 16 in. limited edition hardcover, bound with custom designed, hand-marbled Renato Crepaldi end papers in a special fabric cover with gilt lettering and a limited edition archival, high-resolution facsimile of the final artwork titled “AMEN”, all contained in an archival fabric clamshell box designed to dramatically recreate the experience of the original 1899 presentation. Limited edition of only 200 copies, signed and numbered by author Thomas Negovan on a deluxe vellum insert page. Hardcover, 12” x 16”, 224 pages

       The price of this book will increase incrementally as the edition sells out.

      Le Pater: Alphonse Mucha's Masterpiece of Symbolism

      A love letter to the close of the 19th century and a message of hope to the future.

      By December 20, 1899, Alphonse Mucha had experienced four years as the most recognizable proponent of Art Nouveau graphics and the most celebrated illustrator in Paris. The massive output of the artist in his first four years in the advertising and decorative world earned much for Mucha's publisher but very little for the artist himself.

      As the end of the century grew near, Alphonse Mucha insisted upon the release of a deeply personal work, and printed 510 copies of what he for the remainder of his life considered his works-on-paper masterpiece, Le Pater.

      Decidedly non-denominational, Mucha's exploration features a female deity protecting humankind and a number of sophisticated occult themes across a series of images of mystical illustrations.

      Unlike the advertising art that had dominated Mucha's output since his "discovery" by Sarah Bernhardt in late 1894, Mucha described this series of images to a New York reporter as "the thing I have put my soul into." (The Sun newspaper, 5 January, 1900)

      Mucha's previous artworks were lithographed on numerous mediums ranging from paper to silk, in multiple formats; Mucha's publisher Champenois saw that Mucha was the most printed artist in Paris in the late 1890s. Mucha's concern, understandably, was likely that the imagery of his spiritual work would be capitalized upon. By 1899, he had earned the right to demand that the Le Pater images would be produced in an edition of only 510 copies, and subsequently saw the plates destroyed- ensuring the work would never be reprinted for mass-market purposes.

      The images from Le Pater are mentioned in numerous Mucha books as his masterpieces and are universally acknowledged alongside his massive Slav Epic paintings as his finest work. However, as a result of Mucha's forced limitation of the publication of this masterwork, the rarity of the lithographs means that most books are limited to mentioning the images in the text and leaving the reader to wonder what these "lost masterpieces" might look like.

      The original promotional materials for the Le Pater series name these artworks as of "rare interest and considerable importance". Over 115 years later, the description continues to ring true.


      What is the copyright standing of this work, and how is it that you can publish it now if Mucha hoped that it would never be reprinted?

      The copyrights on these artworks have expired, as is the case with many exceptional artworks. The challenge for a publisher comes in acquiring proper files from which to print, which is why many publications featuring rare artworks are of poor quality. In our case, we are working from an original 1899 folio of the artworks so the image captures- and printing- will be of the highest possible quality. While Mucha was adamant that his publisher at the time not reprint the work, as we understand it the motive was related to his work being appropriated in fragments ad infinitum for commercial purposes. We believe today that 116 years later Mucha would want this most personal work shared with as many people as possible, and in keeping with respect for the depth and breadth of his creation we are publishing this book in a completest and academic manner.

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