Slav Epic

The Slav Epic by Alphonse Mucha: Twenty Paintings, One Historical Vision

Alphonse Mucha’s posters could catch an eye on a crowded Paris street. The Slav Epic asks for a different kind of attention. Its largest canvases extend more than six metres high and eight metres wide; people, buildings and skies become parts of a sweeping account of Slavic history. Mucha worked on the twenty-painting cycle from 1911 to 1926, choosing episodes from early settlement to the modern age. He wanted viewers to see connections across peoples, languages and centuries, and to imagine a future shaped by peace and learning.^[1]

The paintings are also a record of his choices. Mucha arranged historical events, religious traditions, battles and moments of study into a story with an intended moral direction. The cycle is most rewarding when we look both at what appears on each canvas and at the vision that joins them. Its subjects are not a neutral survey of every Slavic people or a complete history of the regions they inhabited. They are the history Mucha selected and made visible at monumental scale.^[1]

The Slav Epic in Mucha’s career

Work dates

18901900191019201930

Gismonda

1894 design

JOB

1896 design

Le Pater

1899

The Slav Epic

1911–1926

Apotheosis of the Slavs

1926

Contents

1. What is the Slav Epic?
2. From a Paris commission to a project for Bohemia
3. Research, models and enormous canvases
4. A route through the twenty subjects
5. Three canvases to look at closely
6. How the paintings were seen
7. Mucha’s vision, and our reading

What is the Slav Epic?

The Slav Epic, or Slovanská epopej, is a series of twenty large paintings. The Mucha Foundation describes ten as subjects from Czech history and ten as episodes concerning other Slavic regions. Their depicted eras range from ancient or early medieval settings to the nineteenth and early twentieth centuries. The paintings themselves were made much later, principally between 1911 and 1926. A title may therefore contain a historical date while its catalogue entry gives a twentieth-century painting date.^[1]

Mucha did not paint them in the order in which they are numbered. The first three canvases were finished in 1912, while The Abolition of Serfdom in Russia, numbered nineteen, was painted in 1914. Apotheosis, the final work in the numbered sequence, dates from 1926. The number helps a reader follow Mucha’s chosen historical arc; it is not a diary of his years in the studio. That distinction also lets a viewer compare works produced years apart without assuming that adjacent numbers were painted together or under the same conditions.^[1][2][7]

The cycle moves between intimate human experience and collective ceremony. A couple hide from violence in the first painting. Elsewhere a preacher addresses an audience, scholars examine printed pages, pilgrims approach sacred objects, and a crowd hears an edict whose effects it cannot yet know. Mucha set these events on very large canvases, but many of their most memorable passages turn on the face, gesture or uncertainty of a single person.^{[3][6][7][8][9]}

From a Paris commission to a project for Bohemia

The idea took shape while Mucha was working on the interior of the Bosnia-Herzegovina pavilion for the Paris Exhibition of 1900. Commissioned by the Austro-Hungarian government, the pavilion sent him into historical research and travel in the Balkans. The Foundation dates the formation of the Epic idea to 1899. Through that work Mucha encountered the lives and histories of Southern Slavs living under imperial rule, and began imagining an “epic for all the Slavonic peoples.”^[1]

The ambition outgrew anything a normal commission could fund. Mucha made five visits to the United States between 1904 and 1909 while seeking support. In December 1909 he secured the backing of Charles Richard Crane, a Chicago businessman and philanthropist with a strong interest in Eastern Europe. Crane supplied the financial support that made the long undertaking possible; Mucha chose and painted the cycle. He returned to his homeland in 1910 and set about turning the idea into a sustained working life.^[1]

The support took a more specific form than a general promise. A published Czech translation of the first page of Mucha and Crane's 28 January 1913 agreement describes a projected series of twenty very large paintings, planned delivery of three a year to Prague, and Crane's payment in stages as groups of three were begun and handed over.^[17][18] It also refers back to Mucha's November 1909 proposal and the city's response, which contemplated a purpose-built place for the completed work. The agreement shows why the cycle was conceived from the start as both an artistic undertaking and a public display problem. Its proposed annual pace was a plan, not the schedule the finished paintings actually followed; three works had already been completed in 1912.^[1][17]

The surviving published translation covers only the first of two contract pages. Later court proceedings have treated the meaning of the 1909 correspondence and 1913 agreement as disputed.^[18] For an account of Mucha's practice, the secure point is the planning visible in the document: a named patron, a city envisaged as recipient, staged funding, and a building promised as part of the intended public life of the paintings. That evidence makes the later argument over a permanent home easier to understand without trying to settle a question of legal title here.

The Epic belongs to the later part of Mucha’s career, but it was not a sudden abandonment of everything he had learned in Paris. His posters had taught him how to organise a large surface so that a central figure and surrounding symbols could be read together. In the historical paintings he used that skill for a much larger and slower task. An image made to advertise Gismonda had to be grasped quickly; a canvas such as The Slavs in Their Original Homeland could ask a viewer to move between frightened survivors, burning distance and figures of symbolic promise.^[3]

Research, models and enormous canvases

Mucha rented a studio and apartment at Zbiroh Castle in western Bohemia, where the available space let him work on paintings of exceptional size. The first canvas, The Slavs in Their Original Homeland, is catalogued as egg tempera on canvas and measures 610 × 810 cm. The final Apotheosis is also catalogued as egg tempera on canvas, but at 480 × 405 cm it has different proportions and scale. Each work needs its own object record for exact medium and dimensions.^[1][3][5]

The Foundation’s timeline records research trips, consultation with specialists, sketches and attention to how large paintings would be hung and lit. Its object pages preserve studies and photographs related to particular canvases: Mucha posed for the figure of Jan Hus, photographed models for Apotheosis, and worked from material gathered in Russia for the emancipation painting. These surviving traces show the gap between a historical scene that appears immediate on a finished canvas and the planned, researched arrangement behind it.^[2][6][7]

Models and photographs helped Mucha test human poses, clothing and groupings. They are useful evidence of his working process, although a photographed pose is not the same thing as a fully documented account of every step in a painting. The larger questions remained compositional: how to make a crowd legible over several metres, where to place a focal figure, and how a viewer might read a distant landscape together with foreground action. Mucha’s photography and working methods offer another route into this part of his practice.

Scale also changes the experience of the story. On a small screen a canvas can look like a carefully arranged illustration. At full size it surrounds the viewer with figures and landscape. Mucha knew that display conditions mattered: the Foundation records his 1913 visit to Versailles to study the hanging and lighting of large paintings. The Epic was made to be experienced as a sequence of substantial physical works, even though readers today often meet the paintings one reproduction at a time.^[2]

The paintings are physical records of calculation and revision too. A Prague City Gallery account of a 2018 exhibition says that showing some canvases without their frames made their reverse sides accessible, including notes, calculations and occasional sketches Mucha had left while working. That institutional description does not supply a complete technical study of all twenty supports, but it shows why the cycle should not be understood solely as a sequence of finished front-facing images. Its construction and mounting are part of the history of making and exhibiting it.^[11]

Materials made for a travelling cycle

A later technical survey gives more direct evidence. Conservator Tomáš Berger examined selected Epic canvases in 2016, combining radiography, ultraviolet examination and laboratory sampling with archival research.^[16] He reports that Mucha transferred planned compositions to strong Belgian canvas originally woven for sails. The paintings have a very thin ground and generally only a few fine paint layers. Berger relates those choices to the need to roll the huge canvases for moving and storage. A monumental painting was thus made with travel in mind, rather than simply rolled as an improvised solution after completion.^[16]

Berger's study finds a gradual material change too. Earlier paintings relied predominantly on tempera; later ones show increased use of oil, with a transition apparent across 1918–24. He also documents oil additions to some earlier canvases and Mucha's continued attention to their condition, including work as late as 1937.^[16] The survey selected representative paintings rather than applying every test to every canvas. Its cycle-wide trend cannot by itself assign a complete recipe to an untested area of any one painting. It does, however, complicate a blanket description of the Epic as twenty identical egg-tempera works. Foundation catalogue labels and later technical findings should both be read at the level of the individual object.^[1][16]

Materials affected size as well as technique. Prague City Gallery's account of its 2018 Municipal House exhibition says wartime limits on Belgian canvas supplies led Mucha to adapt the dimensions of some works made during and after the First World War.^[19] The gallery could show eleven of these smaller canvases in a room unable to accommodate all twenty. That later exhibition is evidence of how the cycle's varied dimensions arose and how they constrain display; it is not a claim that the smaller paintings were designed only for that room. Even in a cycle planned on a monumental scale, canvas supply and available walls altered what could be made and subsequently shown.

A route through the twenty subjects

The opening works imagine vulnerable early Slavic communities and the formation of cultural and religious traditions. The Slavs in Their Original Homeland begins with people threatened by attack. The Celebration of Svantovít turns to an older religious world; Introduction of the Slavonic Liturgy and Tsar Simeon of Bulgaria make language and learning prominent. These are not interchangeable origins. Mucha places fear, belief and the ability to speak or worship in a familiar language alongside one another as forces in collective life.^[1][3]

Several middle paintings move through rulers and political alliances, but the cycle is equally interested in words and conscience. Jan Milíč of Kroměříž and Master Jan Hus Preaching at the Bethlehem Chapel put religious speech at the centre of an image. The paintings around the Hussite movement show meetings, conflict and the consequences of war. In the Hus canvas, the preacher and his listeners fill a chapel rather than a battlefield. It presents a spoken idea as a historical event, and leaves viewers to consider the violence that followed.^[1][8]

Learning reappears in The Printing of the Bible of Kralice in Ivančice. Mucha painted scholars and young readers around the first printed pages in his home town. The Foundation connects the subject with the Czech language and the later importance of the Bible of Kralice. It is one of the cycle’s clearest examples of a book or act of translation carrying historical weight. Other canvases turn toward Orthodox religious traditions, including Holy Mount Athos, where Mucha placed pilgrims, clergy and sacred objects in a great interior.^[1][8][9]

The final part of the numbered cycle approaches modern questions of nationhood and freedom. The Abolition of Serfdom in Russia depicts a crowd listening to an official edict in 1861. Its misty setting and uncertain faces resist an easy image of instant liberation. Oath of Omladina gathers nineteenth-century Czech nationalist youth under a symbolic linden tree. Apotheosis then attempts to bring the whole cycle to a climax through a composition organised by four colour areas. The movement from anxiety to ceremony is Mucha’s construction, and the individual paintings complicate any simple tale of continuous progress.^[5][7][4]

Readers can follow those strands rather than trying to memorise all twenty works at once. Begin with the first canvas for Mucha’s treatment of vulnerability, turn to Hus or the Ivančice printing scene for the power of language, and compare the Russian emancipation painting with the concluding Apotheosis for two different moods around political change. The complete numbered directory below leads to each individual canvas.

The subjects also change how a viewer understands historical action. An army may dominate the memory of a period, yet Mucha repeatedly gives a public voice, a manuscript or an uncertain audience a place in the story. In the Hus painting, history happens among people listening. In Ivančice, it happens around a printing press and between a young reader and an older man. In the emancipation scene, it happens in a crowd waiting to learn what an announcement will mean for daily life. These choices make education and belief active forces in the cycle rather than decoration around its battles.^[6][7][8]

Three canvases to look at closely

No. 1: The Slavs in Their Original Homeland

Mucha began the numbered story with a couple hiding in the foreground as their village burns in the distance. The darkness makes their fear immediate. They are survivors looking outward from a place of concealment, not heroic founders posing at the centre of a triumphant scene. Above them, a pagan priest and two young figures representing war and peace announce the future the painter imagined for the Slavs. The canvas therefore holds two times together: suffering in the depicted moment and a symbolic promise beyond it.^[3]

That arrangement gives a useful key to the cycle. Mucha often lets a human response anchor a much larger historical claim. The couple’s faces tell us how an attack feels; the floating figures tell us how the artist wished the long story to develop. One part can be read as pictured experience, the other as aspiration. The painting’s date, 1912, is also far removed from the early centuries it purports to depict. Its visual argument belongs to Mucha’s own era as much as to the distant past.^[3]

No. 18: Oath of Omladina

The eighteenth canvas brings the story close to Mucha’s lifetime. Young members of Omladina kneel and join hands beneath a linden tree, pledging themselves to Slavia. Around them are representatives of patriotic and political organisations and figures in folk dress. Mucha used his children Jaroslava and Jiří as models for figures in the foreground. The scene makes a modern nationalist movement part of the Epic’s historical journey, but it is also unusually revealing as an object: the painting was never fully finished.^[4]

The Foundation dates Oath of Omladina to 1926 and describes several figures as remaining in egg tempera without an oil finish.^[4] Berger's technical account, by contrast, calls the unfinished canvas an oil painting and uses its exposed stages to explain the sequence of drawing, initial colour and later detail.^[16] These descriptions do not agree neatly. They may refer to different passages or to different ways of summarising a mixed working process, but the sources here do not establish that reconciliation. When nineteen Epic canvases were exhibited at Prague’s Trade Fair Palace in 1928, this one was left out. The series could be presented as a set of twenty and given to Prague while this particular painting remained unfinished.^[2][4]

No. 20: Apotheosis

The last numbered painting is Mucha’s attempt to gather many centuries into one image. Four differently coloured areas stand for successive stages of his Slavic history. Blue marks an early period; red calls up bloodshed in the Hussite wars; shadowed figures below suggest enemies and repeated attacks. A band of yellow light picks out Czech and Slovak soldiers returning from the First World War, while young boys greet them with green branches. A central figure represents the new republic, with a Christ figure behind.^[5]

The painting is an argument about history as well as an image of celebration. Mucha uses colour to organise different times on one surface and directs them toward a hopeful end. Viewers need not accept that end as the inevitable meaning of every event in the series to understand what he was trying to do. The painting reveals the Epic’s aspiration with unusual clarity: the histories he selected should lead, in his vision, toward independence and work for humanity.^[1][5]

How the paintings were seen

The cycle reached audiences before all twenty works existed. A 1919 exhibition at Prague’s Klementinum showed five canvases, including early works and paintings associated with the spoken word. Those works travelled to the United States. The Art Institute of Chicago's own booklet dates its presentation from 17 June to 19 July 1920, says eleven canvases had been finished, and records five hanging at the head of its grand staircase. It explains the individual subjects to American viewers and describes the proposed future gift to Prague as a joint undertaking of Mucha and Crane. This is a contemporary account of how the still-unfinished cycle was introduced abroad, not a retrospective claim that all twenty were already available.^[2][10]

Those printed Chicago dates describe the booklet's announced run. Anna Daley's study of Mucha in America reports that the paintings arrived in New York too late for an intended earlier showing, so Chicago became their first American venue; she draws on a letter from Mucha to his aunt and contemporary Chicago reporting. Her account also indicates that the Chicago display continued beyond the July date printed in the booklet.^[20] The late shipment and changed itinerary help explain why a cycle designed for Prague reached American viewers through a different sequence than initially planned. The letter is quoted in Daley's research, not collated here from its original manuscript, so its wording should not be treated as a newly consulted archive item.

The Brooklyn Museum's 1921 exhibition booklet offers another contemporary view of those five works. It identifies Christian Brinton as writer of the biographical introduction and Šárka Hrbková as author of the notes on the paintings, and states a first impression of 5,000 copies.^[15] Its notes explain Svantovít Celebration, The Abolition of Serfdom in Russia, Milič of Kroměříž, Jan Hus Preaching and The Meeting of Křížky to an American audience. The booklet therefore documents both the selection shown and the language through which the paintings were introduced. Its confident accounts of Slavic history and national destiny are period advocacy and interpretation; they should not be mistaken for a neutral account of every event depicted.^[15]

In 1928 Mucha and Crane formally presented the series to the City of Prague during the tenth anniversary of Czechoslovak independence. The same year, nineteen canvases appeared at the Trade Fair Palace. The unfinished Oath of Omladina was excluded. The public presentation made the national purpose of the project unmistakable, but the paintings had already been viewed in Prague and abroad while the work was underway.^[1][2]

The exhibition also had a printed voice. A bibliographic record for its 1928 catalogue identifies parallel Czech, French, English and German text, an introduction by Mucha and a list of paintings compiled by D. Vergun.^[21] An excerpt of Mucha's dated introductory statement reproduced in a later Prague municipal document says he had resolved in Paris in 1900 to devote the second part of his life to strengthening national consciousness through knowledge of history. He described an image as a way to catch a viewer's attention and perhaps draw that viewer toward its meaning. He also expressed a hope that the work would build bridges between peoples.^[22] These are his statements of purpose, not evidence that every visitor understood or accepted the paintings in the same way. The four-language catalogue shows that the 1928 presentation was prepared for audiences beyond Czech readers, even as its historical story was rooted in Mucha's national commitments.

The Czech Academy of Sciences' exhibition database fixes that Prague presentation more precisely at 21 September to 31 October 1928 and identifies Mucha as responsible for its conception and exhibition design.^[14] The venue was the new Trade Fair Palace, whose glass-roofed Great Courtyard had been designed for large machines. According to the database's historical account, Mucha had sand spread across the floor, set out potted pines and flowers, and covered glass walls with dark fabric. These were deliberate changes to the setting in which visitors met the canvases, not decorative details painted into the works themselves. The Academy also records Emanuel Kodet's large sculptures at the edges of the space.^[14]

The Academy's Czech account places this display within the Prague Sample Fair. Its director Václav Boháč saw exchange among Slavic states as a commercial as well as a cultural aim, and the fair included a Soviet pavilion that autumn. At the Epic's opening on 21 September, representatives of the Kingdom of Serbs, Croats and Slovenes and Bulgaria spoke alongside Mucha and Prague officials.^[14] The cycle was therefore presented amid trade promotion, diplomacy and a young republic's anniversary, rather than in a gallery isolated from contemporary politics. That setting does not determine the meaning of each canvas, but it shows the public uses to which Mucha's historical vision was put.

That staging sharpened a contemporary disagreement. The Academy's survey of 1928 Czech criticism shows some writers admiring the public response while others found the historical paintings awkward within a new Functionalist building. It also traces objections to the proposed permanent pavilion promised by the city: critics asked why this cycle might receive its own building while other Czech art lacked comparable provision. The argument therefore concerned space, public funding and modern artistic taste, as well as whether Mucha's account of Slavic history was persuasive. A crowded exhibition and negative critical reviews could coexist; neither alone describes the whole reception.^[14]

The disagreements were more specific than a simple split between patriotic supporters and hostile modernists. The Academy records art historian František Žákavec as accepting a Pan-Slavic programme yet objecting that the Epic's style remained too close to Mucha's Paris Art Nouveau to express what he considered a distinctively Czech and Slavic art. It also places criticism of a proposed dedicated pavilion beside the contemporaneous loss of Rudolfinum gallery space to a parliamentary restaurant.^[14] Such responses asked what a national historical painting should look like and how scarce public exhibition space should be shared. They belong to the cycle's history even when a viewer today reaches a different judgment.

Their later display history raises a simple practical issue: twenty paintings of this size require an exceptional amount of space. A reproduction can introduce a subject, and an individual canvas can reward detailed study, yet the intended relation among the works becomes clearest when the scale and sequence are visible together. That is one reason to keep both the whole cycle and each separately catalogued painting in mind.

The City of Prague's gallery records the 1928 donation as an important part of its own collection history. It also notes a long presentation of the cycle at Moravský Krumlov from 1963 to 2011 before later moves and loans. These changes are more than a question of address: lighting, room proportions and whether viewers can follow all twenty canvases together alter the way the narrative is encountered. The paintings have a history as a municipal gift and a repeatedly reinterpreted public exhibition, alongside their history as objects made in Mucha's studio.^[12][13]

Mucha’s vision, and our reading

Mucha hoped the Epic would bring Slavic peoples together through a shared account of struggle, culture, peace and learning. That hope is important evidence of what he wanted the paintings to do. It does not turn the cycle into an uncontested account of the past. Its twenty episodes cover many different communities and periods, and its symbols express a particular artist’s national and spiritual commitments in the early twentieth century.^[1]

The paintings are strongest when their breadth is allowed to include different moods. A terrified couple, a crowded chapel, a printing school, anxious Russian peasants and a celebratory final canvas do not all say the same thing. Mucha’s large design offers a direction, but the people he painted can hold uncertainty and loss inside that design. Looking closely at those differences makes the cycle more engaging than treating it as one enormous slogan.

Prague City Gallery has published Czech-language essays that make the debate itself part of the cycle's reception. Art historian Milena Bartlová argues that its early twentieth-century national and political ideas need frank historical examination rather than unquestioned celebration. Gallery director Magdalena Juříková stresses the gap between the Epic's official struggle for a lasting home and its more personal effect on audiences, including visitors from abroad. These are distinct curatorial and scholarly views, not a single institutional verdict. They sharpen the task for a reader: to understand what Mucha hoped the pictures would do while still asking which histories, symbols and exclusions shaped that hope.^[13]

For the route into the artist’s wider career, visit Mucha’s biography. His paintings place the Epic alongside his other work on canvas, while the numbered directory below opens each of the twenty subjects in its own right.

The twenty canvases

Cycle numbers follow the Mucha Foundation catalogue. The dates below are painting dates, not the dates of the events pictured. No. 18 remained unfinished.

1. Slavs in their Original Homeland

1912 · Foundation record

2. The Celebration of Svantovit

1912 · Foundation record

3. The Introduction of the Slavonic Liturgy

1912 · Foundation record

4. The Bulgarian Tsar Simeon

1923 · Foundation record

5. The Bohemian King Premysl Otakar II

1924 · Foundation record

6. The Coronation of the Serbian Tsar Stefan Dusan as East Roman Emperor

1923 · Foundation record

7. Jan Milic of Kromeriz

1916 · Foundation record

8. After the Battle of Grunwald

1924 · Foundation record

9. Master Jan Hus Preaching at the Bethlehem Chapel

1916 · Foundation record

10. The Meeting at Krizky

1916 · Foundation record

11. After the Battle of Vitkov Hill

1923 · Foundation record

12. Petr Chelcicky at Vodnany

1918 · Foundation record

13. The Hussite King Jiri of Podebrady

1923 · Foundation record

14. Defense of Sziget against the Turks by Nicholas Zrinsky

1914 · Foundation record

15. The Printing of the Bible of Kralice in Ivancice

1914 · Foundation record

16. The Last Days of Jan Amos Komensky (Comenius) in Naarden

1918 · Foundation record

17. Holy Mount Athos

1926 · Foundation record

18. The Oath of Omladina under the Slavic Linden Tree

1926 · unfinished · Foundation record

19. The Abolition of Serfdom in Russia

1914 · Foundation record

20. Apotheosis of the Slavs

1926 · Foundation record

Watch: Alphonse Mucha

Place Mucha’s Czech and Slavic projects beside his better known Paris work.

Prague’s Art Nouveau, Mucha, and the Slav Epic

Rick Steves Classroom Europe

A short view of Mucha’s Prague legacy and the Slav Epic cycle.

Watch on YouTube

▶01 · Prague and the Slav EpicPrague’s Art Nouveau, Mucha, and the Slav EpicRick Steves Classroom Europe▶02 · Art Nouveau overviewAlphonse Mucha: Plongez dans l’Art nouveau !Grand Palais▶03 · Paris and designAlphonse Mucha: Art Nouveau in ParijsKunstmuseum Den Haag

Artworks directory

292 artworks

Search artworks Medium All media Drawing Painting Reset

Name	Date	Medium
'Accept Love and Enthusiasm from Your Son, Mother of the Holy Nation': study for the mural 'By Own Strength III' at the Lord Mayor's Hall, Obecní Dům, Prague	1910-1911	Pencil and charcoal on canvas
'By force towards freedom, with love towards unity!': study for the mural 'By Own Strength II' at the Lord Mayor's Hall, Obecní Dům, Prague	1910-1911	Pencil and charcoal on canvas
'The Passing Wind Takes Youth Away': design for a fan and the façade of the 'Pavilion of Man' (unrealised)	1899	Colour lithograph
'Through humiliated and tortured, you will live again, my country!': study for the mural 'By Own Strength II' at the Lord Mayor's Hall, Obecní Dům, Prague	1910-1911	Pencil and charcoal on canvas
1918-1928: Poster for the 10th Anniversary of the Independence of the Republic of Czechoslovakia	1928	Colour lithograph
6th Sokol Festival	1912	Colour lithograph
8th Sokol Festival	1925	Colour lithograph
After the Battle of Grunwald	1924	egg tempera on canvas
After the Battle of Vitkov Hill	1923	egg tempera on canvas
Age of Love	1936–1938
Age of Reason	1936–1938
Age of Wisdom	1936–1938
Amants	1895	Colour lithograph
Apotheosis of the Slavs	1926	Egg tempera on canvas
As Hamlet	1899	colour lithograph
Au Quartier Latin	1898	Magazine cover
Banknotes of Czechoslovakia, designed by Mucha: 500 crown; 50 Crown; 10 Crown	1929	Banknotes
Bieres de la Meuse	1897	Colour lithograph
Biscuits Champagne Lefevre Utile	1896	Colour lithograph
Biscuits Lefevre Utile	1896 design for 1897 calendar; Foundation object/Carnavalet 1897	Colour lithograph
Blessed are the Pure in Heart	1906	Printed magazine illustration
Bleu Deschamps	1903 (deposit)	Colour lithograph
Bosnia & Herzegovina Pavilion - illustration featured in 'Le Figaro Illustré' (1 March 1900)	1900	Reproduction from Le Figaro Illustré after watercolour original
Bosnia-Herzegovina Pavilion: cartoon for the mural 'The Roman Period and the Arrival of the Slavs'	1899-1900	ink and crayon on paper
Bosnia-Herzegovina Pavilion: fragment of the upper frieze featuring Ivo and Anica, characters from Bosnian legends	1899-1900	tempera and watercolour on canvas
Bosnian Legends: Death of Hasanaga's Bride	1899	Charcoal on paper
Bosnian Legends: Murcia - The Plague Lady	1899	Charcoal on paper
Bosnian Pavilion Restaurant at the Paris Exhibition 1900: design for the menu	1900	Pencil and watercolour on paper
Boutique Fouquet (interior design)	1901	Shop interior design
Boutique Fouquet: sketches of the shop's signboard and decorative details	c.1900	Pencil, ink and watercolour on paper
Box for Lefèvre-Utile biscuits: Gaufrettes Vanille	c.1900	Tin box covered with lithographed label
Box for Lefèvre-Utile biscuits: Madère	c.1900	Tin box covered with lithographed label
Brightness of the Day	1899	Colour lithograph
Broach with Pendant	1900	Gold, ivory, mother-of-pearl and semi-precious stones
Byzantine Head - The Blonde	1897	Colour lithograph
Byzantine Heads (pair)	1897	Colour lithograph
Byzantine Heads: Brunette	1897	Colour lithograph
Bénédictine	1898 (BnF deposit); Hamburg 1899; MNAC 1896 or 1898	Colour lithograph
Champagne Ruinart	1896	Colour lithograph
Chocolat Ideal	before or in 1897 (catalogue conflict)	Colour lithograph
Chocolat Masson (1897 calendar)	1896–1897	Colour lithograph
Choirboys at Petrov Church, Brno	1905	Watercolour on cardboard
Cloches de Noel	1900	Illustrated book
Comedy: study for a mural for the German Theatre, New York	1908	Oil on canvas
Cours Mucha: poster advertising Mucha's art classes held at the Académie Colarossi, Paris	1900	colour lithograph
Creative Force - Jan z Pernštýna: study for a pendentive of the Lord Mayor’s Hall, Obecní Dům, Prague	1910-1911	Oil on canvas
Crucifixion	c.1868	Pencil, crayon and watercolour on paper
Cycles Perfecta	1897 or 1902 (catalogue conflict)	Colour lithograph
Dance	1898	Colour lithograph
Dead Couple - Abandoned	c.1899-1900	Charcoal and pastel on blue paper
Defense of Sziget against the Turks by Nicholas Zrinsky	1914	egg tempera on canvas
Design for a champagne poster	c. 1896	Charcoal and pastel on paper
Design for a display stand at the Paris Exhibition 1900	c.1899-1900	Pencil and wash on paper
Design for Champagne Ruinart	c. 1896	Pencil, watercolour and gold leaf on paper
Design for the cover of the magazine 'Fantaz'	1882	Ink and watercolour on paper
Design for the heading of the cover of the magazine 'Krokodil'	1885	Pen and ink on cardboard
Design for the poster for the Mucha Exhibition at the Brooklyn Museum, New York, January-February 1921	1920	Pen and ink and watercolour on paper
Designs for cutlery	c.1900	Charcoal and white on card
Designs for tableware	c.1900	Charcoal, coloured pencil and white on card
Diadem for 'La princesse lointaine'	1895	metal and pearls
Diploma of Ivančice: Mock diploma honouring a local celebrity, with illustration of the first line of 'May', a poem by Karel Hynek Mácha	1882	Pen and ink and watercolour on paper
Documents décoratifs: designs for a watch and accessories (unused)	1901-1902	Pencil, ink and white on paper
Documents décoratifs: final study for Plate 25, featuring studies of lily	1901-1902	Pencil on paper
Documents décoratifs: final study for Plate 43	1901-1902	Pencil, ink and wash, heightened with white on paper
Documents décoratifs: final study for Plate 49	1901-1902	Pencil and white on paper
Documents décoratifs: final study for Plate 50	1901-1902	Pencil and white on paper
Documents décoratifs: final study for Plate 60	1901-1902	Pencil, ink and wash, heightened with white on paper
Documents décoratifs: final study for Plate 63	1901-1902	Pencil and white on paper
Documents décoratifs: final study for Plate 67	1901-1902	Pencil and white on paper
Documents décoratifs: final study for Plate 71	1901-1902	Pencil and white on paper
Documents décoratifs: final study for Plate 72	1901-1902	Pencil and wash, heightened with white on paper
Documents décoratifs: line drawing for Plate 33, featuring lily motifs	1901-1902	Pencil, pen and ink on paper
Documents décoratifs: Plate 54	1902	Lithograph
Dreaming of Freedom: study for a Panel of the Small Reception Room at the Lord Mayor’s Hall, Obecní Dům, Prague	1910-1911	Pen and ink and watercolour on paper
Dusk	1899	Colour lithograph
Evening	1899	Colour lithograph
F. Champenois (Rêverie imprint)	1898	Colour lithograph
F. Guillot-Pelletier calendar (1898)	1897–1898	Colour lithograph
Feather	1899	Colour lithograph
Figures décoratives: final study for Plate 2	1904-1905	Pencil and white on paper
Figures décoratives: final study for Plate 3	1904-1905	Pencil and white on paper
Figures décoratives: final study for Plate14	1904-1905	Pencil with white on paper
Figures décoratives: sketch study for Plate14	1904-1905	Blue pencil on paper
Flirt Lefevre Utile	1899 (Foundation design); BnF legal deposit 1900	Colour lithograph
Flower	1897	Colour lithograph
Flower: final study for decorative panel	1897	Pencil, ink and watercolour on paper
France Embraces Bohemia	1918	oil on canvas
Fruit	1897	Colour lithograph
Georges Fouquet (1858-1929), Paris, after design by Mucha: Ornamental Chain with pendants	1900	Gold, enamel, fresh-water pearls, mother of pearl and semi-precious stones
Georges Fouquet (1858-1929), Paris, after Mucha design: 'Peacock' Ring (Exhibited at the Paris Exhibition 1900)	1900	Opal and gold
Girl Weeping	c.1899-1900	Black chalk and pastel on paper
Girl with Loose Hair and Tulips	1920	Oil on canvas
Gismonda	1894	Colour lithograph
Head of a Girl, statue for the stand of the Houbigant Perfumery at the Paris Exhibition 1900	1900	Bronze, silver and parcel gilt
Head of Sarah Bernhardt: Study for 'Lorenzaccio'	1896	Pencil on paper
Heather from Coastal Cliffs	1902	Colour lithograph
Heidsieck & Co	1901	Colour lithograph
Holy Mount Athos	1926	Egg tempera on canvas
Ilsée, Princesse de Tripoli	1897	Illustrated book
In the Desert: Study for an illustration for the Světozor magazine	1889	Pencil, watercolour and gouache on paper
Incantation (Salammbô)	1897	Lithograph
Independence - Jiří z Poděbrad: study for a pendentive of the Lord Mayor’s Hall, Obecní Dům, Prague	1910-1911	Oil on canvas
Interior and furniture designs	c.1900	Pencil on paper
Interior of Boutique Fouquet: design for a wall-mounted display cabinet with statuette and mirror	c.1900	Pencil on paper
Interior of Boutique Fouquet: design for the fireplace with statuettes, mirror, and the ornamental details of the wall	c.1900	Pencil and watercolour on cardboard
Interior of Boutique Fouquet: sketches of the fireplace with statue, mirror, display cabinet, and the ornamental details of the wall	c.1900	Pencil, pen and ink on paper
Ivy	1901	Colour lithograph
Jan Milic of Kromeriz	1916	egg tempera on canvas
Jaroslava and Jiří, the Artist’s Children	1918	Oil on canvas
JOB poster	1896	Colour lithograph
Judgement of Paris (calendar for Vieillemard printing company)	1895	Colour lithograph
Justice - Master Jan Hus: study for a pendentive of the Lord Mayor's Hall, Obecní dům, Prague	1910-1911	Oil on canvas
L'Annee Qui Vient	1897	red chalk on paper
L'Illustration magazine - cover for Christmas 1896/1897	1896	Magazine cover
L'Illustré Soleil du Dimanche	1897	Magazine cover
La Dame aux Camélias: designs for cover and interior of special programme	1896	Pencil and watercolour on paper
La Nature	1899-1900	Bronze and amethyst
La Plume	1897	Magazine cover
La Samaritaine	1897	colour lithograph
Lance Parfum Rodo	1896; Albertina print c. 1900	Colour lithograph
Laurel	1901	Colour lithograph
Le Monde Illustré	1900	Magazine cover
Le Pater	1899	Illustrated book
Le Pater: early study for the 1st allegorical scene 'Our Father who art in Heaven' (1899) (Mucha Foundation object 300)	1899	Pencil on paper
Le Pater: early study for the 1st allegorical scene 'Our Father who art in Heaven' (1899) (Mucha Foundation object 302)	1899	Pastel on paper
Le Pater: study for the 6th allegorical scene 'Forgive us our debts, as we forgive our debtors'	1899	Charcoal and ink wash on paper
Lefevre Utile	1904	Advertisement
Leslie Carter	1908	Colour lithograph
Letem Českým Světem	1898	Printed book
Lorenzaccio	1896	Colour lithograph
Luchon poster (attributed to Mucha)	1895	Colour lithograph
Madonna of the Lilies	1905	Tempera on canvas
Master Jan Hus Preaching at the Bethlehem Chapel	1916	egg tempera on canvas
Maude Adams	1908	Lithograph, hand-coloured in watercolour and gouache
Maude Adams as Joan of Arc	1909	Oil on canvas
Medea	1898	Colour lithograph
Menu for the Bosnian Pavilion Restaurant at the Paris Exhibition 1900	1900	Colour lithograph
Militancy - Jan Žižka: study for a pendentive of the Lord Mayor's Hall, Obecní dům, Prague	1910-1911	Oil on canvas
Military Camp in Winter, near a City on Fire	c.1899-1900	Pastel on paper
Moet et Chandon	1899	Colour lithograph
Monaco Monte Carlo	1897	Colour lithograph
Moon	1902
Moravian Teachers' Choir	1911	Colour lithograph
Morning Alphonse Mucha Painting / AlphonseMucha.org	1899	Colour lithograph
Morning Star	1902	Colour lithograph
Moët & Chandon White Star	1899	Colour lithograph
Mrs Mucha’s Necklace	1906	gold, enamel and semi-precious stones
Mural for the Bosnia-Herzegovina Pavilion: The Roman Period and the Arrival of the Slavs	1900	tempera and watercolour on canvas
Murals by Mucha in the Lord Mayor's Hall, Obecní Dům (Municipal House), Prague (1910-1911)
Music	1898	Colour lithograph
Nativity	c. 1934	oil on canvas
Nestle's Food for Infants	1897	Colour lithograph
Night	1899	Colour lithograph
Nude on a Rock	1898-1899	Bronze
Official Banquet of the Paris Exhibition 1900: design for the menu featuring a fashionable woman wearing a Mucha-style jewellery	1900	Pencil, gouache and wash on grey paper
Ornamental motifs designed for 'Combinaisons Ornementales se Multipliant à l'Infini à l'Aide du Miroir' (1901)	c.1900-1901	Blue and red pencil on paper
Packaging for 'Savon Mucha Violette'	1906	Colour lithograph
Packaging for Lefèvre-Utile biscuits: Boudoir	1901	Colour lithograph
Page's Costume: study for an illustration for 'Le Costume au Théâtre'	1890	Pencil and watercolour on cardboard
Painting	1898	Colour lithograph
Peonies	1897–1898	Ink and watercolour
Petr Chelcicky at Vodnany	1918	egg tempera on canvas
Poetry	1898	Colour lithograph
Portrait of Jaroslava	c.1927-1935	Oil on canvas
Portrait of Josephine Crane Bradley as Slavia	1908	Oil and tempera on canvas
Portrait of Marie Chytilová (Maruška), Mucha's Future Wife	1903	pastel on paper
Portrait of Mucha's Sister, Angela	c.1880	Oil on canvas
Portrait of Mucha's Sister, Anna	c.1885	Oil on canvas
Portrait of Mucha's Son, Jiří	1925	Oil on canvas
Portrait of Mucha's Wife, Maruška	1908/17	Oil on canvas
Portrait of Woman	c. mid 1910s - 1925	Blue pastel on grey paper
Poster for 'Hommage Respectueux de Nestlé' (the Nestlé Company's tribute to Queen Victoria's 60th Jubilee)	1897	Colour lithograph
Poster for 'Imprimerie Cassan Fils'	1896	Colour lithograph
JOB poster (1898)	1898	Colour lithograph
Poster for 'La Dame aux Camélias'	1896	Colour lithograph
Poster for 'La Tosca'	1899	Colour lithograph
Poster for 'Regional Exhibition at Ivančice 1913'	1912	Colour lithograph
Poster for 'The Slav Epic Exhibition, Brno, 1930'	1928-1930	Colour lithograph
Poster for 'Waverley Cycles'	1898	Colour lithograph
Poster for the 'Lottery of the Union of Southwestern Moravia'	1912	Colour lithograph
Poster for the Austrian Pavilion at the Paris Exhibition 1900	1900	Colour lithograph
Prague Subjugated: study for a Panel of the Small Reception Room at the Lord Mayor’s Hall, Obecní Dům, Prague	1910-1911	Pen and ink and watercolour on paper
Primrose	1899	Colour lithograph
Primrose and Feather (paired image)	1899	Colour lithographs (paired image)
Princess Hyacinth (Princezna Hyacinta)	1911	Colour lithograph
Print proof for the Biscuits Lefèvre-Utile tin	1899	Lithograph
Reverie	1898	Colour lithograph
Russia Restituenda [Russia Must Recover]	1922	Colour lithograph
Salome	1897	Colour lithograph
Salon des Cent	1896	Colour lithograph
Salon of the Hundred	1897	Colour lithograph
Sarah Bernhardt - La Princesse Lointaine - Lefevre Utile	1903	Colour lithograph
Sarah Bernhardt as La Princesse Lointaine: poster for 'La Plume' magazine	1897	Colour lithograph
Sarah Bernhardt in the role of the Duc de Reichstadt in L’Aiglon	1900	Pencil on paper
Sarah Bernhardt: study of her full-standing figure	c.1896	Pen and ink on paper
Savonnerie de Bagnolet calendar	1898 (calendar)	Printed advertising calendar
Self-portrait (1899)	1899	Oil on board
Self-portrait (1907)	1907	Blue and white crayon on blue Ingres paper
Self-portrait, sketching in his apartment, Paris	late 1880s	oil on canvas
Sketches of flowers for Documents décoratifs	c.1900-1901	Pen and ink on paper
Slavia insurance poster	1907	Poster
Slavs in their Original Homeland	1912	Egg tempera on canvas
Snake Bracelet with a Ring	1899	Gold, enamel, opal, ruby and diamond
Société Populaire des Beaux Arts	1897	Colour lithograph
Song of Bohemia	1918	oil on canvas
St. Vitus Cathedral Stained-glass Window, Prague: final design for the central panels, featuring SS Cyril and Methodius	1931	Ink and watercolour on paper
St. Vitus Cathedral Stained-glass Window, Prague: final design for the central panels, featuring St. Ludmila	1931	Ink and watercolour on paper
St. Vitus Cathedral Stained-glass Window, Prague: final design for the central panels, featuring St. Wenceslas (Duke of Bohemia) kneeling next to his Grandmother, St. Ludmila	1931	Ink and watercolour on paper
St.Vitus Cathedral Stained-glass Window, Prague: final design for the bottom left panels	1931	Ink and watercolour on paper
St.Vitus Cathedral Stained-glass Window, Prague: final design for the bottom right panels	1931	Ink and watercolour on paper
Stained-glass Window designed by Mucha at St. Vitus Cathedral, Prague	Early 1930s	N/A
Study for 'The Age of Reason'	1936-1938	Pencil and watercolour on paper
Study for 'The Slav Epic cycle' No.19: The Abolition of Serfdom in Russia	1913-1914	Watercolour and gouache on paper
Study for 'The Slav Epic' cycle No.14: The Sacrifice at Szigetvár by Nikola Zrinski	c.1913-1914	Photographed drawings stuck together, tinted with watercolour and gouache
Study for 'The Slav Epic' cycle No.17: The Holy Mount Athos (1926)	c.1925-26	Charcoal heightened with white on cardboard
Study for 'The Slav Epic' cycle No.18: The Oath of Omladina under the Slavic Linden Tree	c.1925-1926	Pencil and watercolour on paper
Study for 'The Slav Epic' cycle No.1: The Slavs in Their Original Homeland (1912)	c.1910-1912	Oil on canvas
Study for 'The Slav Epic' cycle No.2: The Celebration of Svantovít	c.1910-1912	Oil on canvas
Study for 'The Slav Epic' cycle No.7: Jan Milíč of Kroměříž	c.1915-1916	Oil on canvas
Study for 'The Slav Epic' cycle No.9: Master Jan Hus Preaching at the Bethlehem Chapel. The Magic of the Word: Truth Prevails (1412).	c.1915-1916	Oil on canvas
Study for 'The Three Ages' triptych: Reason, Wisdom and Love [unfinished project]	1936-1938	Pencil and watercolour on paper
Study for 'Woman in the Wilderness' (c. 1922-1923) (Mucha Foundation object 315)	c. 1922-1923	oil on canvas
Study for 'Woman in the Wilderness' (c. 1922-1923) (Mucha Foundation object 316)	c. 1922-1923	oil on canvas
Study for Savon Notre Dame	c. 1896	pencil and watercolour on paper
Study for the poster 'Russia Restituenda [Russia Must Recover]'	1922	Pen and ink and watercolour on paper
Study of a Male Nude	1885-1887	Oil on canvas
The Abolition of Serfdom in Russia	1914	Egg tempera on canvas
The Arts (series)	1898	Colour lithograph
The Arts: study for 'Dance'	1898	Pencil and watercolour on paper
The Arts: study for 'Music'	1898	Pencil and watercolour on paper
The Arts: study for 'Painting'	1898	Pencil and watercolour on paper
The Arts: study for 'Poetry'	1898	Pencil and watercolour on paper
The Bohemian King Premysl Otakar II	1924	egg tempera on canvas
The Bulgarian Tsar Simeon	1923	egg tempera on canvas
The Burr McIntosh Monthly, 1907	1907	Magazine cover
The Celebration of Svantovit	1912	egg tempera on canvas
The Coronation of the Serbian Tsar Stefan Dusan as East Roman Emperor	1923	egg tempera on canvas
The Devil and Mr Twardowsky: study for an illustration for 'The Tale of Pan Twardowsky' (a variation of 'Faust')	c.1887-1888	Charcoal on paper
The Flowers (series)	1898	Colour lithographs
The Flowers: Carnation	1898	Colour lithograph
The Flowers: Iris	1898	Colour lithograph
The Flowers: Lily	1898	Colour lithograph
The Flowers: Rose	1898	Colour lithograph
The Hussite King Jiri of Podebrady	1923	Egg tempera on canvas
The Introduction of the Slavonic Liturgy	1912	egg tempera on canvas
The Last Days of Jan Amos Komensky (Comenius) in Naarden	1918	Egg tempera on canvas
The Light of Hope	1933	Oil on canvas
The Meeting at Krizky	1916	egg tempera on canvas
The Months (January-June)	1899	Colour lithograph
The Months (July-December)	1899	Colour lithograph
The Moon and the Stars (four-panel montage)	1902	Colour lithographs (four-panel montage)
The Moon and the Stars (series)	1902	Colour lithograph
The Moon and the Stars: study for 'The Evening Star'	1902	Ink and watercolour on paper
The Moon and the Stars: study for 'The Pole Star'	1902	Ink and watercolour on paper
The New York Daily News art supplement	1904	Printed art supplement
The Oath of Concord of the Slavs (unfinished)	1939	oil on canvas
The Oath of Omladina under the Slavic Linden Tree	1926, unfinished	Egg tempera on canvas
The Precious Stones (four-panel montage)	1900	Colour lithographs (four-panel montage)
The Precious Stones (series)	1900	Colour lithograph
The Precious Stones: Amethyst	1900	Colour lithograph
The Precious Stones: Emerald	1900	Colour lithograph
The Precious Stones: Ruby	1900	Colour lithograph
The Printing of the Bible of Kralice in Ivancice	1914	egg tempera on canvas
The Seasons (series)	1896	Colour lithograph
The Seasons (series) (1900)	1900	Colour lithograph
The Seasons (variation in screen format)	1896	Colour lithograph
The Seasons: Autumn (1896)	1896	Colour lithograph
The Seasons: Autumn (1900)	1900	Colour lithograph
The Seasons: Spring	1900	Colour lithograph
The Seasons: Spring (1896)	1896	Colour lithograph
The Seasons: Summer	1900	Colour lithograph
The Seasons: Summer (1896)	1896	Colour lithograph
The Seasons: Winter	1900	Colour lithograph
The Seasons: Winter (1896)	1896	Colour lithograph
The Slavonic Concord: study for the ceiling painting for the Lord Mayor's Hall, Obecní Dům, Prague	1910-1911	Oil on canvas
The Threat	1912	Colour lithograph
The Times of the Day (series)	1899	Colour lithograph
The West End Review	1897 (Foundation); 1898 promotional cover	Colour lithograph
Thistle from the Sands	1902	Colour lithograph
Théâtre de la Renaissance: design for poster advertising Sarah Bernhardt's theatre	c.1895	Pen and ink on paper
Tin for Lefèvre-Utile biscuits	1899	Circular tin with lid and handle; colour print on metal
Topaz	1900	Colour lithograph
Tragedy - study for a mural for the German theatre New York	1908	Oil and tempera on canvas
Trappistine Liquors	1897	colour lithograph
Wiener Chic	1905	Magazine cover
Woman in the Wilderness	1923	Oil on canvas
Woman masked in white head-scarf - study for the illustration of the Bosnia & Herzegovina Pavilion featured in 'Le Figaro Illustré' (1 March 1900)	1899	Pencil and wash heightened with white on paper
Woman with a Daisy - textile designed by Mucha	1900	Printed upholstery fabric
Zdenka Cerny	1913	Colour lithograph
Zodiac (La Plume calendar)	1896–97	Colour lithograph
Zodiac (textless decorative panel)	1896	Colour lithograph
‘At the sight of the two storks the owl rose.’ Study for an illustration for Contes de Grand-mères	1891	Watercolour and gouache on paper

Frequently Asked Questions

References

1. Mucha Foundation, “Slav Epic,” thematic collection and cycle overview. View source.
2. Mucha Foundation, “Alphonse Mucha Timeline,” entries for the Epic’s research, production, exhibitions and 1928 presentation. View source.
3. Mucha Foundation, “The Slav Epic cycle No. 1: The Slavs in Their Original Homeland,” object record. View source.
4. Mucha Foundation, “The Slav Epic cycle No. 18: Oath of the ‘Youth’ under the Slav Linden Tree,” object record. View source.
5. Mucha Foundation, “The Slav Epic cycle No. 20: Apotheosis: Slavs for Humanity,” object record. View source.
6. Mucha Foundation, “The Slav Epic cycle No. 9: Master Jan Hus Preaching at the Bethlehem Chapel,” object record. View source.
7. Mucha Foundation, “The Slav Epic cycle No. 19: The Abolition of Serfdom in Russia,” object record. View source.
8. Mucha Foundation, “The Slav Epic cycle No. 15: The Brethren School in Ivančice,” object record. View source.
9. Mucha Foundation, “The Slav Epic cycle No. 17: Holy Mount Athos,” object record. View source.
10. Art Institute of Chicago, Historical Paintings of the Slavic Nations by Alphonse Mucha, exhibition booklet, 17 June–19 July 1920. View source.
11. Prague City Gallery, 2018 Slav Epic exhibition press account, on the unframed canvases and their reverses. View source.
12. Prague City Gallery, “History, vision, mission,” on the 1928 municipal gift. View source.
13. Prague City Gallery, “What do you think when viewing the Slav Epic?”, Czech essays on interpretation and display. View source.
14. Czech Academy of Sciences, Institute of Art History, Exhibition Database of Art in the Czech Lands 1820–1950, “Alphonse Mucha: The Slav Epic,” 1928 exhibition record and commentary by Rostislav Švácha and Lenka Bydžovská, with contemporary press bibliography. View source.
15. Brooklyn Museum, Historical Paintings of the Slavic Nations by Alfons Mucha, 1921 exhibition booklet, introduction by Christian Brinton and painting notes by Šárka Hrbková. Read transcription.
16. Tomáš Berger, “Alfons Mucha: Slovanská epopej. Technologický a restaurátorský průzkum,” Staletá Praha 35, no. 1 (2019), especially the English summary, pp. 135–137; 2016 technical survey of the Epic's supports, paint layers, repairs and shifting materials.
17. Historical News / Association for the Slav Epic in Prague, published Czech translation of the first page of the Mucha–Crane agreement, including the plan for staged payments and display in Prague. Read translation.
18. Supreme Court of the Czech Republic, decision 30 Cdo 1257/2018, reproducing findings about the 28 January 1913 agreement and differing interpretations of the November 1909 correspondence; cited for document chronology, not a conclusion about present ownership. Read decision.
19. Prague City Gallery, “Alfons Mucha: Slovanská epopej,” 2018 Municipal House exhibition account, on eleven smaller canvases and limits on Belgian canvas supplies. Gallery account.
20. Anna Daley, Alphonse Mucha in Gilded Age America, 1904–1921, Smithsonian Institution research thesis, pp. 72–75, using a 6 July 1920 family letter, Chicago reporting and the Art Institute booklet for the American itinerary. Read study.
21. WorldCat, bibliographic record for Slovanská epopeje = Epopée slave = The Slavonic Epopee = Die Epopöe der Slaven, Prague, 1928. Catalogue record.
22. City of Prague, later municipal proposal reproducing a statement signed by Alfons Mucha, Prague 1928, pp. 2–3; the original exhibition catalogue was not directly collated for this passage. Municipal document.

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