Our Wine Cabinet provides a winning solution to wine storage and a unique decorating touch with art that enhances the product and reflects your taste. The frame, top, and racks are solid New Zealand pine with a hand stained and hand hand rubbed, multi step, medium reddish brown finish, that is then protected with a a sprayed on lacquer coat and top coat.. The licensed art is from among the World's Best Selling and Recognized Artists a lot of which is exclusive to Kelsey’s Collection for these products. The art is giclee printed on canvas with three coats of UV inhibitor to protect against the sunlight and thereby extend the longevity of the art. The canvas is then glued onto MDF panels and inserted into the frames. The overall dimensions are 33” by 22” by 12” Net weight 20# Three racks each holding 5 bottles, then a shelf above the rack and a stemware holder under the top for your wine glasses. Estimated assembly time – 20 minutes Artist - Alphonse Mucha
Alphonse Maria Mucha was born in the town of Ivančice, Moravia (the present Czech Republic). Although his singing abilities allowed him to continue his education through high school in the Moravian capital of Brno, drawing had been his main hobby since childhood. He worked at decorative painting jobs in Moravia, mostly painting theatrical scenery. In 1879, he relocated to Vienna to work for a major Viennese theatrical design company, while informally augmenting his artistic education. When a fire destroyed his employer's business during 1881 he returned to Moravia, to do freelance decorative and portrait painting. Count Karl Khuen ofMikulov hired Mucha to decorate Hrušovany Emmahof Castle with murals, and was impressed enough that he agreed to sponsor Mucha's formal training at the Munich Academy of Fine Arts.
Mucha moved to Paris in 1887, and continued his studies at Académie Julian and Académie Colarossi. In addition to his studies, he worked at producing magazine and advertising illustrations. About Christmas 1894, Mucha happened to go into a print shop where there was a sudden and unexpected need for a new advertising poster for a play featuring Sarah Bernhardt, the most famous actress in Paris, at the Théâtre de la Renaissance on the Boulevard Saint-Martin. Mucha volunteered to produce a lithographed poster within two weeks, and on 1 January 1895, the advertisement for the play Gismonda by Victorien Sardou was posted in the city, where it attracted much attention. Bernhardt was so satisfied with the success of this first poster that she began a six-year contract with Mucha.
Mucha produced a flurry of paintings, posters, advertisements, and book illustrations, as well as designs for jewelry, carpets, wallpaper, and theatre sets in what was termed initially The Mucha Style but became known as Art Nouveau (French for "new art"). Mucha's works frequently featured beautiful young women in flowing, vaguely Neoclassical-looking robes, often surrounded by lush flowers which sometimes formed halos behind their heads. In contrast with contemporary poster makers he used pale pastel colors. Mucha's style was given international exposure by the 1900 Universal Exhibition in Paris, of which Mucha said, "I think [the Exposition Universelle] made some contribution toward bringing aesthetic values into arts and crafts." He decorated the Bosnia and Herzegovina Pavilion and collaborated with decorating the Austrian Pavilion. His Art Nouveau style was often imitated. The Art Nouveau style however, was one that Mucha attempted to disassociate himself from throughout his life; he always insisted that rather than maintaining any fashionable stylistic form, his paintings were entirely a product of himself and Czech art. He declared that art existed only to communicate a spiritual message, and nothing more; hence his frustration at the fame he gained by hiscommercial art, when he most wanted to concentrate on more artistic projects.
Mucha was "discovered" by Sarah Bernhardt in 1894 when she need a poster, on short notice, for a performance she was starring in. She was so impressed with hls style and excellence, that she signed him up for a 6 year contract. Mucha saw a resurgence in interest in his art during the late 60's wherein his art was used to advertise love ins, be-ins, acid rock festivals, light show concerts, and other assorted goings on during the hippy phase of the late 60's and early 70's. His art actually has never lost favor and is still sought after for his posters and designs for jewelry, vases, cookware, and housing decor.
subject matter - French poster art circa 1900.
Sarah Bernhardt considered La Dame aux Camélias by Alexandre Dumas to be the key drama in her repertoire. Bernhardt played the title role, the courtesan Camille who is dying of consumption and releases her lover from his promise to marry her.
Mucha captures the tradgedy of the tale with shocking impact. The grief-stricken heroine leans wearily against a balustrade and is flanked by a background of silver stars. In her hair is a white camelia. Another camelia, this time symbolising death, is held up by a hand at the bottom of the poster. This smooth-stemmed plant contrasts with the thorny roses piercing the hearts at the top of the design, evoking the play's principal theme - love's ultimate sacrifice.