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Moet & Chandon - Cremant Imperial
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Moet & Chandon - Cremant Imperial
Semi art nouveau artist Alphonse Mucha created the poster entitled ‘Moet & Chandon - Cremant Imperial’ in 1899. It was commissioned by the famous Moet & Chandon champagne house in Paris in order to market their Cremant Imperial champagne to the public. The poster is a composition of elegantly flowing lines, soft colors, and intricate details. By using hues of browns, pinks, whites, and blues, the artist aimed to induce the poster with sophistication, an attribute that would hopefully attract the finest of champagne connoisseurs.
Known to despise art nouveau, Alphonse Mucha developed a technique uniquely his own. The artist refused to be categorized, and so he achieved his own status by adding a personal “twist” to art nouveau. It consisted of using traditional flowers, hair motifs, as well as swirling lines. He had an inimitable talent for incorporating a multitude of designs in a single frame. Mucha set the style for generations to come - not only with his ‘Moet & Chandon - Cremant Imperial’, but also with the various other commissions he earned, including the work and theatrical posters he did for Sarah Bernhardt.
Analysis and Reviews
Author Paul Johnson states in his book “Art: A New History”: “One warms to Alphonse Mucha because he tried so hard to bring art into the lives of the people - his greatest passion - by designing first class posters, advertisements, labels for soap, toothpaste and butter, mosaic panels for municipal swimming pools, crockery, textiles, jewellery (the snake bracelet and ring he designed for Sarah Bernhardt, executed by Fouquet, is perhaps the finest piece of costume jewellery ever created), postage stamps, calendars, letterheads and every conceivable kind of illustrative work.”
On Alphonse Mucha’s technique and style, www.bpib.com said this about his art work: “His way was based on a strong composition, sensuous curves derived from nature, refined decorative elements and natural colors. The Art Nouveau precepts were used, too, but never at the expense of his vision.”