Art Nouveau - The Creative Adventurer https://thecreativeadventurer.com A Travel Guide for Exploring the World Wed, 15 May 2024 20:06:35 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://i0.wp.com/thecreativeadventurer.com/wp-content/uploads/2020/01/cropped-NewCreativeAdventurerLogo_250x250_v1.png?fit=32%2C32&ssl=1 Art Nouveau - The Creative Adventurer https://thecreativeadventurer.com 32 32 171399271 The Ultimate Guide to Exploring the Beauty and Meaning of Alphonse Mucha’s Masterpiece, the Slav Epic [UPDATED 2023] https://thecreativeadventurer.com/art-gallery-guide-alphonse-muchas-masterpiece-the-slav-epic/?utm_source=rss&utm_medium=rss&utm_campaign=art-gallery-guide-alphonse-muchas-masterpiece-the-slav-epic https://thecreativeadventurer.com/art-gallery-guide-alphonse-muchas-masterpiece-the-slav-epic/#comments Fri, 27 Jan 2023 17:16:23 +0000 https://thecreativeadventurer.com//?p=1445 The ‘Slav Epic‘ is one of the greatest works by Czech artist Alphonse Mucha. Over 20...

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]]> The ‘Slav Epic‘ is one of the greatest works by Czech artist Alphonse Mucha. Over 20 years, Mucha painted 20 enormous canvases, some measuring over eight meters tall! He called this series the ‘Slav Epic’ as it explored the history of the Slavic people.

If you’ve visited Prague, there is no doubt you will have come across Mucha’s work. He is one of the most prolific Czech painters in the world, and the city LOVES his paintings and posters. They seem to appear on every street corner and postcard in Prague. His famous prints have become so popular they are often sold at University Poster fairs and cover the walls of hundreds of dorm rooms around the world.

Mucha’s Art Nouveau

His style of art is quintessentially Art Nouveau. Most of his more commercial works feature images of beautiful young women in flowing dresses surrounded by lush flowers. He kept the tones for these advertorial pieces in pale pastels, typical of the art nouveau style. But the ‘Slav Epic’ is something completely different. A departure from his commercial work and something genuinely personal to the artist. If you are interested in learning more about the Slavic people and their history, this is an immersive and exciting way to do it!

Where to Find the Artwork

I am SO EXCITED to finally get to update this blog with the new locations for the Slav Epic. When I visited Prague in 2015, I didn’t know I would be one of the last people to see the Slav Epic in person. I caught the exhibition just a few months before it closed. Until the end of 2016, the Slav Epic was housed in the National Gallery’s Veletržní Palace in Prague.

Moravský Krumlov

Originally, the canvases were exhibited in the city of Moravský Krumlov. They were displayed in the castle and remained a precious treasure of the town for over 50 years. Then, the city of Prague contested that the painting had been left to them by Mucha in the first place. And they shouldn’t be displayed so far away from where most tourists visit. But Prague had no space suitable for showing all these incredibly large works of art. You almost need an airport hanger! The city of Moravský Krumlov felt the paintings needed an appropriately regal and elevated space. They wanted them to be displayed inside the old palace of Moravský Krumlov, where they felt like they belonged. 

Political Battle over the Paintings

In 2012, the city of Prague eventually won the right to display the works. They found a temporary space for them in the National Gallery’s Veletržní Palace. But this space was only to house them for four years. After 2016, the paintings were boxed up, and a political battle between Prague and Moravský Krumlov erupted again. No one could agree on where they would be displayed. They travelled to Japan for international exhibitions, but when they returned, they sat in storage.

Finally, in 2020 the Prague City Council decided to return the paintings to the château in Moravský Krumlov. They will be on display here until 2026. After returning to their original home, the canvas exhibition spaces were repaired to better showcase these incredible works of art.

Access & Admission 

As the exhibition takes place in Moravský Krumlov, most visitors will arrive via Prague, Vienna or nearby Brno.

The train from Prague to Moravský Krumlov takes about 4 hours (with one transfer.) After arriving at the stations, you can hop on a bus which will take you to the entrance to the castle. If you are travelling from Vienna, the journey is slightly shorter, only 3 hours on the train. The shortest trip will be from Brno, as it is only 1 hour on the train.

Tickets

It’s best to purchase tickets in advance to ensure you won’t be disappointed that they are sold out when you arrive.

Prices: Adults 250 CZK, Seniors 65+ 170 CZK, Students 10-25 years old 150 CZK

Hours

January–May:  9:00 a.m.–4:00 p.m. (last entry at 3 p.m.)
June–August:  9:00 a.m.–5:00 p.m. (last entry at 4 p.m.)
September–December  9:00 a.m.–4:00 p.m. (last entry at 3 p.m.)
all year round: closed on Mondays

The Size Paintings

Seeing the paintings for the first time in person, you’re immediately awestruck by the sheer size of these canvases. They feel more like walled frescos than simple pictures. Moments are frozen in time, captured in life-sized (and in some cases, larger than life) works of art. Each of the paintings depicts the history of the Slav people, their civilization, wars, and celebrations. The next thing you’ll notice about these paintings is how the people represented differ from Mucha’s other works. These are not the languid, sensual forms of Mucha’s commercial art nouveau posters. These deftly painted scenes profoundly portray the emotions and collective journey of the subjects in each brushstroke.

About Alphonse Mucha

Alfons Maria Mucha, although better known internationally as Alphonse Mucha, was a Czech painter born in 1860. He born in the small town of Ivančice in southern Moravia. Mucha showed an aptitude for painting very early on. He received his secondary education at the Cathedral of St. Peter and Paul in Brno. He was accepted into the arts school firstly as he was also an accomplished singer. Mucha was famously quoted as saying, “for me, the notions of painting, going to church, and music are so closely knit that often I cannot decide whether I like church for its music or music for its place in the mystery which it accompanies.” The dramatic scenes in many religious paintings undoubtedly influenced the art he would later go on to make. 

See page for author, Public domain, via Wikimedia Commons

Mucha in Vienna

At 19 years of age, Mucha travelled to Vienna. There he became an apprentice scenery painter for theatre companies. His flair for the dramatic would continue to be influenced through these explorations. After his apprenticeship, Mucha moved back to Moravia. There he was employed by Count Belize to create portraits, decorative art and lettering for tombstones. Belasi saw Mucha had real talent. He wasn’t just an everyday artist. Belasi brought Mucha with him on his trips to Venice, Florence and Milan. There he was able to introduce him to many more professional artists.

SiefkinDR, CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0, via Wikimedia Commons

Mucha in Paris

Eventually, Mucha moved to Paris in 1888 and started to professionally study art at the Académie Julian and Académie Colarossi. These schools specialized in studying female nudes and figurative paintings. As well as historical and religious art.

While in Paris, Mucha lived inside the Slavic community boarding houses who famously sheltered struggling artists. It was perhaps living within this community that endowed Mucha to the Slavic people even more. Mucha’s first large client was the Central Library of Fine Arts. It was from here that his career as an illustrator and graphic artist took off. He successfully made a life for himself in Paris for many years, creating commercial art. These printed works featured his iconic attractive sets of women, in flowing gowns and floral backdrops.

History of the Slav Epic

At the age of 43, Mucha returned to his homeland of Moravia. There, he devoted himself to painting a series about the history of all the Slavic people. Mucha’s inspiration for the series first started when he was researching another assignment. While studying and travelling through the Balkans, he was genuinely struck by the hardships and sufferings of the Slav people. He also noted there was no real documentation of these people’s stories in art. Mucha decided it would be his final task to bring these stories to life with paint.

Although he secured a financier for the giant undertaking, this was more of a passion project for the artist. Sitting in his studio, surrounded by this enormous canvas, Mucha painted the past into reality. The Slav Epic depicts in chronological order the mythologies and histories of the Czechs and Slavic people.

http://www.radio.cz/fr/article/106478, Public domain, via Wikimedia Commons

Romanticism

Many of the themes in this series fall under romanticism. Romanticism is characterized by its emphasis on emotion and individualism and the glorification of the past and nature. In these paintings, sensations are portrayed on people’s faces in a far more sophisticated way than before. Looks of horror, terror, awe and apprehension started to round out the range of human emotion in art. Previously emotion had been stunted between pure joy or sadness. Romanticism also elevated folk art, which had previously been thought of as a lesser form of art.

It took Mucha over 14 years to complete the series. In 1928, on the 10th anniversary of Czechoslovakia’s independence, Mucha presented the collection of paintings to the Czech nation. He considered it his most important piece of work he ever created. The Czech Republic cherished the gift. It was like nothing else they had ever seen before. Notably, during World War II, the Slav Epic was one of the first things hidden away before the Nazis took hold of the city and seized works of art.

The Slavs in Their Original Homeland

The series is set chronological and starts with the painting entitled “The Slavs in their Original Homeland,” painted in 1912. In the 4th to 6th century, the Slavic people lived largely in unpopulated, rural areas, which often were considered marshes. Because there was no national army to protect these farmers, their lands were invaded time and time again.

In this painting, you can see a mother and child hiding in the bushes. Behind them, their village is being burned to the ground. The red fires glowing in the distance to the left of the frame. Their eyes are so vulnerable and seem to cry out to the viewer for help. They look right into your soul. This is a trope that Mucha uses throughout almost the entirety of the series.

In the top corner of the piece, you can see three figures floating in mid-air. The largest of the figures, a priest, holds his hands outstretched. In the same position as Jesus on the cross. The two on either side of him are a young boy and girl. The boy, dressed in blood-red robes represents war. The girl on the right, dressed in white represents peace. The two figures seem to foreshadow the future of the Slavic people. Their history is marred by many wars but also by the hope for peace.

Colours in the Slav Epic

The colours used in this painting are significant in the series and also in comparison to Mucha’s other works. Most of Mucha’s artworks are pale and delicate. In this series, we find there is definitely a dark tone to his work. Colours here are not just used haphazardly. He uses colour to his advantage and to help tell the story using symbolism.

Many of the paintings throughout the series have two separate planes of existence set in the same scene. Often mythological beings are seen floating above the historic action below. This is Mucha’s way of combining the essential mythologies of the Slavic people to past events.

 The Celebration of Svantovít 

Sventovit is a Slavic deity of war, fertility and abundance. Sventovit is depicted as a four-headed god with two heads looking forward and two looking back. These four directions are positioned like a compass, looking north, south, east and west. The different directions they point also symbolize the different seasons of the year. Mucha’s next piece, “The Celebration of Svantovít” features the god Sventovit is located in the upper right portion of the painting. The god’s head is just cut off on the top of the canvas. Almost as if we portals cannot look upon him. But we can see some of the branches which sprout forth from his head. He is surrounded by other celestial beings painted in an almost opalescent quality.

Arcona

Before the 1200s, the Slavs headed westwards and built a temple to Sventovit in the city of Arcona. As Sventovit was also the god of the seasons the Slavs would have a grand celebration every year during the autumn. The festival was obviously held at this temple. Pilgrims would come from all over Europe to celebrate with them here.

In 1168 the Danes attacked the city and destroyed the temple in their conquest of the east. We can see the Danes in the upper left corner of the canvas. They are represented by the fearsome-looking warriors being lead by a pack of wolves.

Celebration

Below the celestial scene, the Slavs are preparing for their autumnal celebrations. The Slavs and pilgrims are all dressed in white, a symbol of purity. Only one character seems to be aware of the incoming attack. A mother holding her child in the center of the frame looks out at the viewer. She is almost begging the viewer to take notice. And save them from the horrors which are about to happen to the peaceful pilgrims and Slavs.

Introduction of the Slavonic Liturgy in Great Moravia

In this painting, the “Introduction of the Slavonic Liturgy in Great Moravia” we have a lot going on. So let’s study the earthly plane first. The scene takes place in Velehrad around the year 880. In the lower right corner of the painting, we see a ray of light shining down. A deacon, with his back turned to the audience, reads out an edict. Sitting on his throne awaiting the reading is Prince Svatopluk of Greater Moravia. The deacon is reading out the announcement that Pope John VIII has officially sanctioned the use of Slavic liturgy.

To the left of the deacon, almost hidden behind a small tree, stands Methodius. Two novices are seen kneeling by his side. The task of translating the Bible into the Slavic language was a job upon which Methodius staked his life. And it would make him a saint. Methodius, and his brother Cyril, both helped with this translation of the Bible. The Pope also made Methodius archbishop for his achievements. In the middle ages, having a bible in your native language was a way of ensuring its legacy.

Slavic Language

But not everyone is happy to hear this news. The two German priests surrounding Svatopluk, whose faces are shaded and almost hidden in darkness, can barely conceal their anger. These Germans had been making their way through Moravia in the hopes of eliminating the Slavic language for good. They wanted to force the Slavs to learn the German language in order to practice Christianity.

In the very front of the foreground, once more staring out at the audience, stands a young man with his fist clenched. He raises his other hand in the air, which holds a large ring. The circle symbolizes this moment of strength in unity for the Slavic people.

Boris of Bulgaria and Igor of Russia

Floating above this scene, we have members of the divine realm. In the upper left corner, we can see the Pope sitting on his throne. Beside him, sits the Byzantine emperor, who was the head of the Orthodox Church. Surrounding the great religious leaders Slav who suffered forced Germanification, who now cry out for comfort. In the center of the ethereal world, we see stylized images of Methodius and Cyril as Saints. To the very right, we have the portraits of Boris of Bulgaria and Igor of Russia and their wives. These rulers helped spread the Slavic Bible across the country which helped strengthen their rule and their culture.

Tsar Simeon I of Bulgaria 

Much as the Bible was important in the perpetuation of the Slavic language, art and literature were also significant in ensuring a legacy for this nation. When Methodius died, the Archbishop of Moravia, Prince Svatopluk, under the influence of his German priests, withdrew his support for the Slavic Bible. With this exodus, he also exiled all of Methodius’ followers out of Moravia. They were scholars without a place to call home. Methodius had died and his successor was not recognized by the Pope and therefore had no power. His followers felt they were the only ones left who could continue Methodius’ great work. But all was not yet lost.

Tsar Simeon I

Luckily, Tsar Simeon I of Bulgaria, who had a great kindness in his heart for the Slavic people, gave the scholar refuge inside his court. Tsar Simeon I, was a powerful ruler. Simeon’s successful campaigns against the Byzantines, Magyars and Serbs led Bulgaria to its greatest territorial expansion ever! It was on its way to being one of the most powerful states in Eastern and Southeast Europe. But Simone was also a lover of literature and art. We can see Simeon himself highlighted here under a golden arch. He is seen dictating to his scribes from his raised dais. Other scholars are spread out all over the court. Almost hastily and messily, writing and reading under the golden light of the throne room.

The painting’s foreground is rather small. The upper portion, which takes up about half the space, focuses on the palace’s decor. The frescoes on the wall feature both Byzantine and Slavic designs. Slavic leaders are painted, and a circular motif is applied in gold to the front of the baldachin.

King Přemysl Otakar II of Bohemia

The fifth painting in the series is entitled “King Přemysl Otakar II of Bohemia.” This painting was made 12 years after the first. The piece depicts King Přemysl Otakar II, who ruled Bohemia from 1253-1278. The King is celebrating the marriage of his niece to the prince of Hungary. This marriage would forge a great alliance and strengthen the bonds of both countries. 

The wedding took place on October 5th, 1264. It was one of the greatest celebrations in Europe’s history to date. Held on the banks of the Danube, under a large canopy, fancy tents were set up along the river to accommodate all the royal guests. The event was dubbed the “Union of Slavic dynasty“. The King happily is greeting his guests inside an ornate tent covered in rich carpets and a beautiful mosaic dome. This scene is lit from above, as if from that celestial place. The light of the hope for the countries’ futures.

The Coronation of Serbian Tsar Štěpán Dušan

The next painting in the series is the “The The Coronation of Serbian Tsar Štěpán Dušan.” Dušan fought many successful wars, growing the size of the country and enriching the livelihood of his people in the process. On Easter Sunday in 1346, he had himself crowned as the Tsar of the Serbs and Greeks. The painting takes place on the hillside, down from the Church of Saint Marko near Skopje. In this scene, we see crowds of peasants and nobles alike, in line for his coronation. Under Dušan’s rule, Serbia was the major power in the Balkans, and a multi-ethnic and multi-lingual empire. He enacted Dušan’s Code which was a compilation of several legal systems, which is considered to be one of the first acts of the constitution.

The children will follow in their leader’s footsteps and bring freedom to the Czech people

Dušan is depicted at the centre of the frame, but not larger than any other person presented. Walking in front of him are some young Serbian girls in traditional attire. The children stand at the front of the procession, as Mucha always maintained that “the children will follow in their leader’s footsteps and bring freedom to the Czech people.” In their hands, they carry flowers and olive branches, the symbols of peace and victory. The children’s gaze focuses once more on the viewer, asking them to join in on the celebrations.

Jan Milíč of Kroměříž

This painting, “Jan Milíč of Kroměříž,” is the first of a triptych in the Slav Epic series. These three paintings jump forward in history slightly and focus on the reformist preachers of the 14th and 15th centuries. Jan Milíč of Kroměříž was a Czech Catholic priest who found himself in opposition with the rest of his clergymen. He found the Catholics to be immoral and indulgent. Their greed was outweighing their piety. 

He redesigned from his official priestly duties and instead dedicated himself to helping the sick and poor of the city of Prague. Milíč made it his mission to persuade the prostitutes of a large house of ill repute to shed their sinful ways and repent. By the sheer eloquence of his words alone, they followed.

Unlike the rest of the paintings in this series, this one is primarily made up of women. Even Milíč himself is very small in proportion to the rest of the scene. At this moment in time, we can see the former prostitutes shedding their brightly coloured clothes and lavish jewels in exchange for simple, white robes. A mode of dressings that represented their newfound purity.

Jerusalem

Milíč set about building a new church, which he would call his “Jerusalem“. This church would become the Týn Church which now stands in Prague’s Old Town Square. In this painting, we can see the women gathered around the spot that would become this church. The scaffolding reaching high up, making the verticality of the painting one of the most impactful things about this piece. One of the prostitutes in the foreground, dressed in red, has her mouth gagged in order to prevent her from gossiping, a mortal sin.

Jan Hus Preaching at the Bethlehem Chapel

The second and largest painting in the triptych is “Jan Hus Preaching at the Bethlehem Chapel”. In this dimly lit scene, we see the Czech theologian and philosopher Jan Hus sitting in the center of the Bethlehem Chapel in 1412. Jan was at the height of his popularity at this time. Jan Hus preached against the Catholic Church of Bohemia, as he believed they were using the church for their own gains. And they would not let the Bohemian people have the Slavic language used in church. The scenes show Hus on the left side of the painting, preaching from his pulpit. But Hus, despite being perhaps the most famous character in the scene is not the central focus. The audience is filled with both everyday people and the highest rungs of Bohemia. All together, presented equally.

The church is also filled with famous characters who would shape the future of Bohemia. Perhaps influenced by the teachings of Hus. The future leader of the Hussite army Jan Žižka, stands under a fresco of St. George and the Dragon. In front of the pulpit is a small group of Hus’ students who are diligently taking notes. All of them sit there, transfixed by the words he speaks.

Queen Sophia, wife of King Váklav IV

On the right side of the frame, we see the bright red canopy of Queen Sophia, wife of King Váklav IV. She sits with her assembly listening to the great lecturer. One of her ladies in waiting turns her head to the side, looking off at a shadowy figure in the corner. This figure represents one of the spying priests who would bring about the death of Jan Hus.

Mucha represents the Bethlehem Chapel as he imagined it. The real church was destroyed in 1836, long before Mucha started this painting. Mucha draws the interior in the high Gothic style as it feels so grand and perhaps reflects the magnificence of the sermons Jan Hus would have been giving. You can visit the new Bethlehem Chapel in Prague today, and while the architecture isn’t nearly as impressive now, its prominence in history is unparalleled.

The Gathering at Křížky

Jan Hus’ teachings were not taken kindly by the papacy. When Alexander V was elected as a pope, he excommunicated Hus. But this would not stop him from preaching. Angered at his insolence, the pope plotted to arrest Hus. He planned an assembly of the Council of Constance to discuss Hus’ opposition to the church. When Hus arrived to have what he thought would be a sensible debate, he was arrested. They repeatedly ask Hus to stop preaching and bend to the ways of the Catholic church but Hus just repeated, “I would not for a chapel of gold retreat from the truth!”.

Hus was burned at the stake for “heresy against the doctrines of the Catholic Church“. As he burned they say he could be heard singing Psalms, a peaceful protestor to the end. But his death would not be in vain. His followers, who called themselves the Hussites, rose up against the Catholic Church. They wanted to take up arms to defend their faith and their right to practice religion in the Slavic language. In 1418, there was a gathering of the Hussites before the great war they would embark on. It is depicted here, in the painting called, “The Gathering at Křížky.”

Koranda

On the right side of the frame, atop a makeshift pulpit stands the preacher Koranda, one of Jan Hus’ most diligent followers. Koranda preaches to the thousands of followers who have concentrated on the hillside. In the foreground, a young man puts his hands around his mouth, in mid-scream. He is calling out for more pilgrims to come over to this spot and listen to Koranda. Koranda is famously quoted as saying, “the faithful should carry swords, not walking sticks.” It was perhaps this moment that the Hussite Wars began. While the painting’s hills and foreground are lit in a pale morning sunrise, there is a dark sky looming above them. This ominous tone is foreshadowing the devastation that will be brought by impending hostilities.

After the Battle of Grunewald

This scene is perhaps one of the most ghastly of all the paintings in the series. The painting depicts the morning “After the Battle of Grunewald“. The great Battle of Grunewald is one of the most significant medieval European victories in history. It was a show of unity for nations under the thumb of Germany. The Teutonic Knights, a German catholic order, had been ravaging the Baltic lands since the 1400s. They wanted to spread Christianity to the pagan nations as they deemed them “savages”. The Slavs, who were also at war with the German Catholics, saw an opportunity to join forces and create a united front against them. The Slavs, the Poles and the Lithuanians all signed a treaty on July 15th, 1410. This was done to help each other defend themselves against the great Teutonic Knights.

Polish–Lithuanian Union

The battle at Grunewald in Poland was a bloody affair, but in the end, the Polish–Lithuanian union were the victors. The battle is thought to have been the marking point in history when the balance of power shifted in Central and Eastern Europe. Many historical war scenes are often depicted as gory and bloody and yet Mucha chose a different approach. Instead, the battleground is almost entirely white, like covered in freshly fallen snow. This is once more to show the purity of the fallen soldiers, who died for the good of their country.

At the top of the frame stands Polish King Władysław Jagiełło and his cousin the Lithuanian Grand Duke Vytautas. They look down at the field of dead soldiers in horror. Such a high cost for freedom which should have been granted naturally. A priest in a white hood can be seen blessing the fallen soldiers as he moves throughout the battlefield.

After the Battle of Vítkov

The 11th piece in the series is entitled “After the Battle of Vítkov.” Like the previous painting, this one also focuses on fallen soldiers. Mucha was a pacifist and hated the loss of which war incurred. The battle was between the Czech people and the then King of Hungary, Sigismund, brother of King Wenceslas. Sigismund was thought to be the one who plotted the death of the people’s prophet, Jan Hus. After Hus died, the people refused to accept Sigismund as their king and marched against the Hungarian army, which occupied Prague Castle at the time.

Zižka

The sun rising above the clouds beams down on a figure which represents Zižka, the leader of the Czech army. We have seen Zižka before, first in the church scene listening to Hus’ teachings. Here we see him still fighting for the same things Hus had preached. Zižka is painted here by Mucha almost as a saintly figure, with the light of god cast down upon him.

In the bottom left of the frame, a mother is seen with her children. But she turns away from them, towards the viewer. She looks utterly overcome with pain, exhaustion and defeat. Although her army may have won the battle, many men had to die and she is perhaps thinking about her young children, who will no doubt go to war like so many other young men. These powerful characters looking out at the audience always seem to have these discerning looks, as if they, like the viewer, know what is to come next.

 Petr of Chelčice 

Mucha aimed with his Slav Epic series to ensure he depicted both sides of the story. And in the painting, “Petr of Chelčice ” we see this balance. While the Hussites were an oppressed people, there were also more extreme factions of Hussites who themselves terrorized many people. This extremist group was called the Taborites. In 1420 the Taborites attacked the village of Vodňany. They plundered the town and burned it to the ground. In the distance of the painting, we see a hint of this action as the black smoke fills the air and almost the entire skyline.

The remaining citizens of Vodňany came to a pond away from the city carrying their dead and wounded in the hopes they would be safe here. The dead are wrapped in white sheets and set against a white pure background. Many of Mucha’s war scenes depict not the action of the battles itself but the after-effects of these traumas on the innocent victims or those left behind. Those who needed to carry on.

Petr Chelčický

In the middle of the frame, we can see a man dressed in a long brown coat and pale blue shawl. He holds a tattered book in his hand, the Czech bible. This is Petr Chelčický. Petr is seen holding the hand of a man, who in anger wants to set off back to the village to avenger his fallen family. But Petr is attempting to calm and dissuade him from seeking revenge.

Chelčický believed and taught pacifism and hated the idea of war. Mucha himself shared in this belief and wanted to highlight the man which he himself looked up to greatly. Petr Chelčický would go on to found the Unity of the Brethren. Their motto was “In essentials, unity; in non-essentials, liberty; in all things, love.”

The Hussite King Jiří z Podĕbrad

Despite the strength and unity of the Czech people, Rome was still in opposition to them. In 1458 Bohemia elected its first king; Jiří z Podĕbrad portrayed here in “The Hussite King Jiří z Podĕbrad“. Jiří z Podĕbrad was well-loved by his people. With many successful battles, the Hussites had demanded an acknowledgement from the Church. Jiří z Podĕbrad sent an envoy to Rome with a treaty. He asked that the Pope confirmed his election and grant Bohemia their own religious privileges. The Pope sent back to Prague his cardinal Fantinus de Valle, to the Royal Court in Prague’s Old Town.

Mucha’s Villains

In Mucha’s series, so many of the villains are seen painted in red. And there is no purer red, than the cardinal’s robes. He is centred in the frame, surrounded by the golden light flowing in through the gothic tracery’s stained glass windows. But instead of the golden light on the sun seeming holy or uplifting, there is an ominous, almost firey tone, to the lighting. He has not brought news of peace but of more war. The profile of Fantinus has actually been modelled off Pope Pius II. Fantinus was mere a solider in the Pope’s envoy.

The scene around him is calamitous. The king is seen turning away, his chair on its side, no doubt having been kicked down in a fit of rage. The overturned chair also represents the fact that Bohemia was still not seen as an official kingdom as the Papacy would not acknowledge it. At the bottom of the scene, in the center of the frame, we see a young boy looking out at the viewer. The boy is holding a book in his hands, which has the words “Roma” written on the cover. The book is closed, depicting the fact that Rome has closed the door on the Bohemian people.

The Defence of Sziget by Nikola Zrinski

“The Defence of Sziget by Nikola Zrinski” stands out, as the red hue is so saturated in juxtaposition to the softer tones of the rest of the series. The scene is fiery, literally. It depicts the last assault of the Bohemian forces against the Turkish army. In 1566, when this painting is set, the Ottoman Empire was spreading eastwards, taking city by city by force. Their next attack was set on the city of Sziget, a town in modern-day Hungary.

Nikola Zrinski

Within the walls of the city, the last remaining Bohemians forces gather around their leader, Croatian nobleman Nikola Zrinski. With no way out, the soldiers and common folk decided that instead of surrendering, they would fight to the very end.

One of the most dramatic moments of the siege is the burning of the city. Upon seeing the Turkish forces burst through the battlements, Zrinski’s wife Eva set fire to the city. She knew while this would no doubt kill hundreds of her own soldiers, but it would also kill thousands of Turks. And perhaps stop their advance into the rest of eastern Europe. In this scene, we can see Eva, along with other fellow women, climbing the scaffolding which contained the cities gunpowder supply. They ready themselves, for the right moment, when the Turkish army is close. Then Eva will hurl down the cresset she holds, to set the entire thing ablaze. You can see Eva at the very top of the scaffolding, standing proud and regal, brave in the face of her sacrifice. It was this decision that successfully halted the Ottoman expansion towards the city of Vienna.

Dividing the canvas like a scar, is a dark plume of smoke rising from the ground. The smoke is so thick it doesn’t seem to belong in the earthy realm. Instead, perhaps it is foreshadowing the demise yet to come. This battle is often referred to as “the battle that saved the civilization.”

The Printing of the Bible of Kralice in Ivančice

“The Printing of the Bible of Kralice in Ivančice” is of particular importance to the Mucha, as it depicts his hometown. The town of Ivančice where Mucha was born is faithfully reinterpreted for us here, on a seemingly idyllic autumnal afternoon. No doubt he would have chosen his favourite time of year to paint this scene. The painting shows members of the Brethren School, gathered in 1578 to admire their new printing press, at work producing the first Czech translation of the New Testament.

Jan the Elder

This theme of all men being equal was something Mucha believed in and was preached by the Brethren School itself. The teacher Jan the Elder of Žerotin can be seen almost obscured under the wooden shelter on the left side of the canvas despite him being one of the founders of the school. In reality, while the Brethren School was located in Ivančice, the bible had to be printed in secret in the town of Kralice. While the action is celebratory, the act of printing the bible in another language was seen as an affront to the Catholic church.

In the foreground of the frame, we see an old man reading to a young scholar. The scholar is looking out at the audience, with a look of apprehension or perhaps impending doom in his eyes. He seems to know that this act is bound to bring persecution down on the school. But printing the bible in Czech was in itself a symbol of the power of the Czech national identity. Since the bible was one of the most-read pieces of literature, having it in your own language ensured its legacy.

Jan Amos Komenský

As foreshadowed by the look of terror in the boy from the previous painting, the religious liberties of the Bohemian people would not last. In 1619 the Holy Roman Emperor Ferdinand II became King of Bohemia. Without a true Czech King on the throne to fight for the rights of the Bohemian people, the Catholic church was reinstated in what was now a Protestant region. But not without bloodshed. In 1620, 30,000 Bohemians died trying to defend their liberty. Noblemen and academics were given the choice to convert to Catholicism or to be exiled.

Naarden

The painting of “Jan Amos Komenský” depicts the result of this exile. Komenský had been a member of the Brethern school who faced this choice. Not wanting to bend the knee to the catholic church, he left the country he loved so much, breaking his heart in the process. He spent the rest of his life in the town of Naarden, in the Netherlands. The town is located near the water, and historically it was said that Komenský would walk along the coast every day. Perhaps the calm sound of waves crashing on land allowing him to dream about the country he left behind. One day, when he felt like his life was coming to a close, he asked for a chair to be brought out to the coast. There he sat, and let death take him home once more.

The scene is painted in a sombre, yet peaceful swath of blues and whites. The purity of the white shores upon which he walked is framed by the melancholy blue of the sky. The sombre sky reflecting the sadness which Komenský felt being compelled to leave his homeland and many of his people. A group of his followers can be seen grieving on the shore, holding each other close. A single lantern sits on the sand, glowing brightly in the darkness, perhaps a hint at the hope which still exists for the Bohemian people.

Czech Mason Temple

This is the only painting in the series which Mucha actually signed! Mucha was deeply connected to Komenský. It is well known that Mucha was a member of the Czech Mason Temple, which was founded in Prague in 1919 and named after Komenský himself. One of the symbols of the Masonic Temple is the Eye of God often seen in a triangle surrounded by rays of light. It is thought that Mucha’s inclusion of the lantern in this scene is symbolic of this same Eye of God and therefore a masonic symbol.

The Holy Mount Athos

The 17th piece in the series is called “The Holy Mount Athos.” Mucha believed that Mount Athos was a spiritual nest for the Czechs and Slav people. Mount Athos is a mountain in northeastern Greece and an important centre of Eastern Orthodox monasticism. Mount Athos is home to 20 monasteries under the direct jurisdiction of the Ecumenical Patriarch of Constantinople. Mucha visited the mountain himself in 1924. The spiritual haven made a huge impression on the painter.

The painting depicts the Russian pilgrimage to this holy site. Once more, we are privy to Mucha’s depiction of the heavenly and the earthly places above and below the canvas. In the upper portion of the painting, we can see the celestial realm. An ethereal glow falls in through the windows, showering the angels in heavenly light. Each of the angles holds in their hand a small model of a Slavic monastery that was built around Mount Athos. Each one of the angels seems to shelter and protect these little treasures. In the center of the frame are two female angels, identifiable by the fact they are not barechested and instead draped with immaculate white fabric. They hold an insignia in their hands which indicates they represent “faith” and “purity”.

High Priests

In the earthly plane, we can see the Russian pilgrims entering the sanctuary in a semi-circle, bowing and praying. Four high priests stand at the back of the scene, just under the Slavic icons. Each one of them holds a relic in their hand which the pilgrims kiss upon greeting. In the foreground of the canvas, we see once more a young man, holding up an older blind man in his arms. One can imagine them to be the same two figures from the school of the Brethren a few paintings ago. The young man, being so inspired by the teaching of the older one, has helped bring him to this holy place where he can finally be at peace.

The Oath of Omladina under the Slavic Linden Tree

There are two important things to understand when reading the painting “The Oath of Omladina under the Slavic Linden Tree”. One is mythological and the other historical. The historical piece of the story is imprinted in the title with the mention of the Omladina. The Omladina were a group of Czech Nationalists made up mainly of youths created in the 1890s. 68 members of the group were furthermore put on trial for their beliefs and sent to prison for their “radical” ideas. These ideas revolved around the creation of a Czech nationalistic revival, despite the fact that Bohemia was currently occupied by the Austria-Hungary empire.

The Daughter of Sláva

The scene which takes place here combines the Omladina with an allegorical scene of the Daughter of Sláva. Mucha was inspired by the poems of Ján Kollár whose oeuvre focused on stories of the gods and goddesses from Slavis history. The Daughter of Sláva stands in the center of the frame, beneath a Linden tree. The Linden tree is also a symbol of the Slavs. Surrounding the tree, in a circle of unity, are imagined members of the Omladina. The Omladina are in the process of taking an oath and pledging their allegiance to the goddess Slavia, and to the Czech people. While the men in the frame are portrayed in their formal, modern-day fashions, there are groups of figures surrounding them dressed in folk costumes. These are traditional representations of the first Czech people.

Jaroslava and Jiří

Sitting on what almost looks like the edge of a stage are two figures, a male and female. These characters were actually modelled off Mucha’s own children; Jaroslava and Jiří. The composition of girl on the right strumming the lyre was actually used in the posters that Mucha created to promote the exhibition of the Slav Epic in Prague in 1928. Mucha would never finish this painting, and the composition remains bare on the canvas, unvarnished. The faces are also unfinished, but in a sense that almost makes the painting more interesting as future Czech revolutionaries can imagine their own faces in the image. Inspiring them to never lose their Czech identity and the histories that come along with it.

The Abolition of Serfdom in Russia

Mucha’s painting of the “Abolition of Serfdom in Russia” is a real reflection of the artist’s disheartening experience of visiting Russia for the first time. Mucha had always looked up to the Russians and was excited to finally visit the city. But when he got there in 1913 he was so disappointed to find the city was overrun with poverty and suffering. It was not the progressive place he thought it would be, instead, he found so many cultural practices to be years behind the rest of Europe. Especially in terms of equality, something he valued over everything else.

Tsar Alexander II

Tsar Alexander II had given Russian serfs personal freedom in 1861. Which Mucha felt was long overdue. The term “serf”, referred to an unfree peasant of the Russian Empire. They differed from slaves only in the sense that they could not be bought and sold independently from their land. Instead were “attached” to the land they lived on. So if you bought a piece of land, the serfs came with it, but could never be moved from that spot. The emancipation movement of 1861 meant that 23 million people received their liberty. They now could marry without having to gain consent, could own property and even start a business.

When the edict was read out, as portrayed here, the serfs and nobles alike had much uncertainty about what this freedom would look like. For the peasants, having never known this kind of life before, some of them were overwhelmed and confused. Mucha’s crowd is subdued rather than excited. They sit for a moment, apprehensive that the emancipation order could be being revoked. And this liberty taken away as fast as it was given.

St Basil’s Cathedral and the Kremlin

St Basil’s Cathedral and the Kremlin are almost completely obscured in the background of the scene by the thick fog. Making the picture more about the people than the country which looms over them. The sun is only starting to peek out of the clouds, offering a faint glimmer of hope. In the foreground of the picture, once more we see a mother and child looking out at the viewer. Their faces are a complex mixture of trepidation, anxiety and optimism.

The Apotheosis of the Slavs, Slavs for Humanity

The final painting in the series is perhaps the most impressive, the colours within its frame is almost otherworldly. It’s entitled “The Apotheosis of the Slavs, Slavs for Humanity.” In this scene, Mucha sums ups all the themes that were explored throughout the preceding paintings.

It celebrates the independence of the Slav nation in the 20th century.
The painting is divided into four sections, each separated by colour. The blue portion in the bottom right represents the mythology of the Slavic people. Those stories are the bedrock upon which their culture was built.

The red in the top-right reflects the brutal Hussites wars fought in the middle ages. The dark shadowy figures on either side of the painting represent the enemies of the Slavic people and the oppression they surrounded the Slavs with throughout their lifetime.

Independent Czech Republic

The last group is the one marked with a bright yellow glowing light. In the centre, a man stands with his arms outstretched. So vast, they almost touch the edges of the canvas. He represents the new, independent Czech Republic. But he doesn’t stand alone. Behind him is the figure of Jesus Christ, supporting him on the journey to come. The man greets a group of soldiers, seen in their uniforms, returning from the First World War. The Austro-Hungarian Empire collapsed after WWI, and the Slavic people were free of their reign in 1918. Just below the waist of the towering figure is a man crouched over, holding his heart. From his clenched hands, a beam of light is radiating. The light represents the Czech people’s love for their nation. And it is this love that will illuminate the future pathway for the Slavic people.

Young boys and girls wave branches with bright green leaves, saluting the men returning home from battle. They are seen wearing traditional folk costumes. Symbolic of the fact that their traditions will never die and will continue in the hearts of future generations.

Souls of the Slav People

Mucha hoped that those who viewed these paintings would be able to see into the souls of the Slav people. He wanted all Slavs and Czechs, now more than ever, to come together through their shared history. He hoped that by documenting these stories, perhaps unknown by many, they would find peace and hope. I had never known anything about the Slavic people until I visited Prague. After experiencing this series I was so inspired to do more reading about the stories portrayed here in the Slav Epic. By understanding the past these people suffered and survived through you have so much more appreciation for the culture they had to fight to preserve.

Fully taking in the Slav Epic can take some time, but the experience is absolutely worth it. I hope that when it finally reopens in its new home in Moravský Krumlov people flock to see it. This is a collection of works of art that NEEDS to be seen in person to be fully appreciated. While learning about it online is great, seeing these gigantic paintings, overtake your field of vision is such an awe-inspiring experience and I truly hope you all manage to see it for yourself!

The post The Ultimate Guide to Exploring the Beauty and Meaning of Alphonse Mucha’s Masterpiece, the Slav Epic [UPDATED 2023] first appeared on The Creative Adventurer.

]]> https://thecreativeadventurer.com/art-gallery-guide-alphonse-muchas-masterpiece-the-slav-epic/feed/ 4 1445 Everything You Need to Know About Immersive Klimt, An Honest Review https://thecreativeadventurer.com/the-ultimate-guide-to-immersive-klimt-an-honest-review/?utm_source=rss&utm_medium=rss&utm_campaign=the-ultimate-guide-to-immersive-klimt-an-honest-review https://thecreativeadventurer.com/the-ultimate-guide-to-immersive-klimt-an-honest-review/#respond Tue, 28 Dec 2021 19:26:08 +0000 https://thecreativeadventurer.com/?p=29793 Gustav Klimt has always been one of my favourite painters. There is something about his golden...

The post Everything You Need to Know About Immersive Klimt, An Honest Review first appeared on The Creative Adventurer.

]]> Gustav Klimt has always been one of my favourite painters. There is something about his golden dreamlands that ensnares the senses. When I saw The Kiss in person at the Belvedere Museum in Vienna for the first time, I was floored. I had seen it many times online and in books but seeing it in real life took my breath away. The amount of gold was staggering. It felt like it had been carved from gold instead of painted with it. It truly did shimmer and shine when you looked at it. The couple in the centre almost lost within this mesmerizing kaleidoscope.

Klimt was a man who broke the rules and was somewhat of a rebel in the art community. He moved away from the standards of the time and found a like group of people who would transform the world of art forever. And above all else, Klimt found a way to weave eroticism into all his works, either subtlety…or not so subtlety. Even today, his paintings stir something deep down inside of all us. Immersive Klimt takes the audience on a journey throughout the life of Gustav Klimt. To see his beginning, inspiration, fellow painters, and most importantly, the women who were his great muses!

Table Of Contents
  1. How Much are Tickets?
  2. How Long is the Show
  3. Review of Immersive Klimt
  4. Is It Worth It?
  5. The Life and Art of Gustav Klimt

How Much are Tickets?

Depending on where you see the show, the ticket prices may vary slightly. Currently, the show is on in Toronto, but in 2022 it plans on touring the USA. Tickets vary in price depending on the time and day of the week. Weekends and evenings are $45-$55 CAD per adult. But on weekday afternoons, tickets are only $35. So plan accordingly to save a bit of money!

How Long is the Show

The entire show lasts 35 minutes and is put on a loop. You are free to stay for as many loops of the show as you like. I usually advise blocking off about an hour to experience the show from different angles. It’s worth just sitting through the entire loop in one spot to take it all in. Then, for the second showing, walk around a bit. This way, you can see how the animations and projections change depending on your standing in the room.

Review of Immersive Klimt

Klimt went through so many different periods of his painting, and to see them all laid out together is an amazingly transformative experience. Over the years, Klimt’s popularity has become almost commercial. His paintings have graced dorm rooms as posters all over the world. His golden patterns find their way onto clothing and accessories. This mainstream accessibility is so surprising because during his lifetime he was deemed extremely controversial.

In 2020, the team behind Immersive Van Gogh created their newest exhibition, Immersive Klimt. Lighthouse Immersive describes the period in which Klimt was working as an artist as “the height of the artistic revolution in Vienna that preceded the fall of an empire: pulsing with bombastic energy and the collision of the traditional and the modern.”

That energy can be felt throughout the show. Unlike the other artists who have had immersive exhibitions based on their works (Van Gogh and Monet), Klimt’s work is imaginative, abstract and almost vibrating with passion. If you’ve never seen an immersive show before, the exhibition uses scans of the works of a certain artist and, using digital technology, animates and blends them together. These are then projected onto the walls of these wide-open spaces. While some people insultingly refer to these as nothing more than screensavers, I think it is an amazing opportunity to experience works of art together as one show that would never otherwise be able to be seen together. Either because they are spread out all over the world or some painting might even be held in private collections.

Immersive Klimt Animations

I found this show to be the most experimental in the animations the team uses to project Klimt’s work onto the exhibition space walls. At times it was suuuper trippy, and I heard more than one person mention that it made them feel like they were on drugs. The flashing lights at times felt like you were at a rave. I couldn’t help but feel this was how a contemporary audience could feel the same shock and awe that early 20th century audiences felt when they saw Klimt’s revolutionary work for the first time.

The penultimate painting, the Kiss, was projected along with videos of contemporary dancers. The dancers were nude, just as many of Klimt’s models, and danced to the sound of the music playing all around you. The group I went with were torn on this modern addition. But personally, I loved seeing it. It felt like real-life passion that the works of Klimt’s are trying to project.

Is It Worth It?

Immersive Klimt was the most fun of all the productions I have seen. The team behind the exhibit really seemed to let their imagination run wild. But like with all of these immersive shows, it lacks context. This one especially had almost no contextual information upon entering. Plus, throughout the show, they also project artworks by Egon Schiele, Koloman Moser and images from Ravenna Cathedral. It’s important to understand these aren’t part of Klimt’s oeuvre. The show does a great job of presenting a variety of Klimt’s artworks from the various periods of his life but just doesn’t do justice to the stories behind these paintings.

Klimt himself is such a compelling character whose life impacted and affected his works so much. Hopefully, this blog will act as a primer to your visit to the Immersive Klimt Experience and allow you to better understand the moving nature of these transcendent works of art.

The Life and Art of Gustav Klimt

Klimt’s Young Life

Gustav Klimt was born in 1862 in a small suburb of Baumgarten, southwest of Vienna. His father was Ernst Klimt, a gold engraver, and his mother, Anna, was an aspiring musical performer. Their household was filled with creative energy, and no doubt, Klimt was influenced by this from the day he was born. But the family of seven children was desperately poor. Their poverty constantly resulted in them having to move to search out cheaper housing. One of Gustav’s sisters died in 1874, and soon after, another of his siblings was sent to a sanitorium. After succumbing to religious fervour. The lack of medical treatment available to this impoverished family no doubt impacted their day-to-day lives.

Viennese School of Arts and Crafts

Despite all this, Ernst saw Gustav’s talent, as did his teachers. His father wanted to see Gustav succeed and escape the poverty his family was trapped in. So, in 1876 Gustav applied to enroll in the Viennese School of Arts and Crafts. He was only fourteen years old. And yet, he was a prodigy with skills far beyond his young age.

At school, he learned all the classical painting techniques. But they also taught their students how to work in other mediums. He also learned how to create mosaics, work with metals, and even mix paints. All of which he would incorporate into this artwork later in life. Gustav’s love of folklore, mythology, and Slavic history would be ignited in school. A theme that spread like wildfire throughout his artwork.

The Ringstrasse

Klimt had his first chance at practical experience working in the creation of the artistry of the Ringstrasse. In 1858, Emperor Franz Joseph wanted to destroy all the old medieval defensive walls around the city. With this new space, he wanted to create a new, vibrant outer ring of buildings that represented the new Vienna. He called this part of town the Ringstrasse (“ring street”) encircled the city. This was Vienna’s “Golden Age.” The Ringstrasse is the most popular loop for tourists to see all the best Viennese architecture even if you visit Vienna today.

The Golden Age of Vienna

During the Golden Age, research, science, and industry were all driven by modern advancements. And yet, the one aspect of culture which had yet to be redefined was art. And that was where Klimt saw his opportunity. Klimt and his brother Ernst started up a small painting business, and their first commission was to paint the grand stairway of the new Burgtheater. Klimt called the paintings in series the “Allegories and Emblems.”

Despite this being a hugely prestigious commission, the pay was dismal and wouldn’t even cover the price of models. So Klimt had to get friends and family to pose for the murals. Today, this is such a historical treat as we can still see Klimt’s sisters Hermine and Johanna’s faces set among the spectators in Shakespeare’s theatre. And Klimt’s brother Georg is even portrayed as the dying Romeo. Hidden in the audience is also the only surviving self-portrait of Gustav. Klimt never painted a self portrait so this is the only version of himself he ever made.

University of Vienna’s Great Hall

Despite the massive success of the Grand Staircases of the Vienna Burgtheater, Klimt was about to suffer one of the most significant blows of his life. In quick successions, both Klimt’s beloved father and brother suddenly died. Klimt suddenly was charged with financially taking care of his family. It was perhaps this onset of responsibility that drove him to become a successful artist. He poured all of his grief into his art, like many great artists before him.

The first large commission he took after the death of his family members was at the University of Vienna’s Great Hall. But Klimt wasn’t going into this commission like the others he had done. Based on the classical compositions and techniques he learned in school. His grief has sent him spiralling to find a new form of painting. He began employing a radical style filled with decorative symbolism.

Philosophy, Jurisprudence and Medicine

The images he was set to paint were supposed to represent Philosophy, Jurisprudence and Medicine. Yet, the university has difficulty reading any of his paintings expressing these subjects. Klimt’s grief and the loss left him jaded. In his depiction of Philosophy, he painted the great thinkers as just people who could not save man from despair. Jurisprudence only justifies violence and leaves the innocent vulnerable. 

Most importantly, Medicine could not save us from death. In addition to these controversial scenes, the women he portrayed in the scenes were all nude. The Medicine mural was deemed highly scandalous. The critics even referred to it as “pornographic.” The university sent these paintings to exhibitions in Paris to get more opinions before they were to have them installed. At the show, the judges were blown away by the decorative symbolism.

Despite winning the gold medal at the art exhibition, the university refused the paintings. Klimt was enraged. Klimt kept the images for himself and later displayed them in Vienna’s Museum of Modern Art. Sadly, the pictures were all lost in a great fire in 1945. The Nazis burnt many paintings they deemed too radical, and Klimt sadly fit right into that group. Today we have a few pictures of the works of art along with some aspects of the painting he incorporated into future paintings.

Founding the Vienna Secession

After the disappointment at the University, Klimt began to seek out other like-minded artists. Through this search, he left the Kunstlerhaus, Vienna’s association of artists. Leaving the group was a big deal. It was only through this association that most artists got their big commissions. But Klimt knew they preferred the more conservative work and wasn’t interested in bending to that style of work.

Instead, in 1897 he founded his own artist community, which he called the Wiener Sezession (Vienna Secession.) The Secession movement was the Austrian interpretation of Art Nouveau that sweeping other parts of Europe. Although there was no strict manifesto, as Klimt wanted to encourage all the artists to be as expressive and unique as possible, the art seemed to reflect naturalism, realism and symbolism.

Nuda Veritas

The Secession group included famed architect Josef Hoffmann, designer Koloman Moser, designer and architect Joseph Maria Olbrich, painters Max Kurzweil, and Art Nouveau prodigy Alphonse Mucha. The first real painting of Klimt that was at the forefront of the Secession movement was Nuda Veritas in 1899. The painting depicts a beautiful naked woman with flaming red hair. In her hand, she holds the mirror of truth towards the viewer. At the top of the frame is a quote by Friedrich Schiller in stylized lettering: “If you cannot please everyone with your deeds and your art, please only a few. To please many is bad.”

Emilie Louise Flöge

During the founding of the Vienna Secession, Klimt also started a lifelong partnership with Emilie Louise Flöge. Emilie’s sister Helene had been married to Gustav’s brother Ernst. When Ernst died, Gustav became Helene’s legal guardian and spent a lot of time with the entire Flöge family. Emilie and Gustav became constant companions but they never married. Their alternative romance was a shock to Viennese society. Still, it seemed in the same vein as everything else in Klimt’s life. Despite their atypical relationship, Klimt was known to use her as a model. She is immortalized in many of his most famous paintings.

It’s important to note that Emilie was an incredible fashion designer, and she had a very successful Viennese fashion house. She was not the typical muse who faded into the background, more than a pretty face. She was fiercely creative in her own right, and her fashions were miles ahead of their time! Much like the fashion revolution we are seeing today, her styles moved away from the male gaze. Her designs were also made in the spirit of freedom. She wanted to break away from the tight corsets and give these modern freethinking women dresses that were loose and yet also emphasized their femininity.

Mermaids and Serpents

The other reason that Emilie and Klimt were never married was perhaps that Klimt was somewhat of a Viennese Casanova. Undoubtedly, he was somewhat of a misogynist and was obsessed with the human form. As well as his desire for the women he painted. Given the freedom of expression from the Secession movement, Klimt drew hundreds of erotic drawings in the 1900s. These expressive, sensual, and dynamic forms would go onto become the basis for his famous Mermaids and Serpents.

I loved how the Mermaids were represented in Immersive Klimt. Swimming around the space, giving real movement to their sensual and fluid forms. It’s very interesting to note that the design of the women’s bodies is stretched and feature a bulbous head. Creating the effect of a phallic-like shape. The integration of male and female forms as one singular creature.

Another signature style of Klimt’s paintings was his women with long, large, red hair. The hair runs wild! It swirls around the women as if with a mind of its own. In early paintings of these mermaids, they are featured with men staring at them, both enraptured and horrific all at the same time. This gives the viewer a hint that perhaps these are not just any women, but in fact, more like Sirens. The Siren’s power is in their ability to capture and eat the men they seduce. While Klimt did his fair share of objectifying women he also was a man who saw the power of women.

Water Serpents

In later paintings like Water Serpents I and Water Serpents II, the women are depicted in their own world. No men in their new kingdom. In fact, one of the pieces was very controversial as it was thought to depict two women as lovers. Klimt renamed the piece “Mermaids,” giving it a symbolic theme in fear that it would be censored. The fairytale context and fish-like bodies allowed him to represent this facet of society without being criticized. Later in his career, he would unabashedly represent lesbians without contextualizing them into myths. He wanted to paint them as they were. They became less abstract, the bodies unmanipulated. They were just simply The Women Friends, wrapped in an intimate embrace.

Judith and the Head of Holofernes

Women’s power over men was another theme that shocked society at the time. And yet, Klimt did not shy away from this. Klimt’s interpretation of Judith and the Head of Holofernes is a decisive example of his point of view. This scene is painted time and time again in art history and with many different interpretations. In most paintings of this scene we can see Judith in the process of cutting the head off, sometimes looking angry, violent, or even a bit repulsed. But usually, the man’s entire body can be seen, his horrified face sometimes more powerful than the expression on Judith. And yet, in Klimt’s, Judith’s body takes up almost the entire frame. She is the star.

The head of Holofernes a literal side note, just peeking out from the corner of the frame. Judith’s expression is almost orgasmic as she reclines against the wall with her breasts exposed. She is seen taking pleasure in this act, something which Viennese society simply could not bring themselves to understand. Despite Judith being the one who cut off the head of Holofernes, she looks slightly decapitated. The large gold necklace around her neck blends into the gold background, making it look as if her head is almost floating about her body. Mimicking the act of the beheading.

Beethoven Frieze 1901

In 1901, Klimt began work on a large frieze for the Fourteenth Vienna Secessionist exhibition. Although the piece was only intended to be displayed during the exhibition, it was painted directly onto the walls. The entire piece stands at 7-feet high and 112 feet wide.

It wraps around the rooms and begins with the image of a floating female Genii. Her form is repeated across this side to depict her flying around in search of Earth. The genii greet three golden figures. The largest figure in the foreground is a knight, wearing a shining set of golden armour. The knight is a symbol of hope, a saviour to humanity’s suffering.

Typhoeus

In the most interesting part of the mural, the Genii meets the wind giant Typhoeus and his hostile forces. Typhoeus is a giant hairy creature with great wings that stretch across the entire wall. The creature’s giant snake-like tail curls under the wings and circles inwards like a spiral.

For Europeans of the time, the image of Typhoeus was especially impactful. Typhoeus was the personification of typhoid which plagued European cities, including Vienna, in the nineteenth century.

Typhoeus stands with his daughters, the three Gorgons, who symbolize lust, debauchery, and death. Their jet-black hair is encircled in golden snakes, just like the tail of their father. Their alluring bodies seem to temp viewers to come closer. They are the real sirens who lure men to their doom. Above the sirens are a series of ghoulish-looking women who seem to almost be decaying away in front of our eyes. These represent the faces of syphilis which was also running rampant through the streets of Vienna. Clearly, Klimt had a personal issue with all these diseases.

To the right of Typhoeus, a full-figured woman with sagging breasts represent Intemperance. She is excessive in all ways, in the wealth of her flashy jewelry, her ostentatious blue skirt and her obvious gluttony.

Love, Art and Music

But the Genii flies on in search of happiness. And she finds it, in a choir of angels. The singing represents the fact that we are led to an ideal realm of happiness and pure love through art. Music is truly heaven on earth.

The scene ends with a kiss. All that constant yearning, and searching, finally comes to an end. The couple’s kiss is so passionate that the world around them seems to disappear, and they enter into their own reality. Behind them grows a tree. Perhaps reminiscent of the tree of life, which spread out from the earth into the heavens. The lover’s feet are bound together as if it represents the sturdy trunk of the tree.

The Ravenna Awakening

In 1903 Klimt was searching for inspiration. He was 41 years old, and despite his success, he found himself at an impasse. On a trip to Italy to gaze upon the old masters, he stopped into the Basilica of San Vitale in Ravenna. The church is most famous for its incredible Byzantine mosaics. In fact, St Vitale boasts the largest and best-preserved mosaics outside of Istanbul. In a letter, Klimt stated that “the mosaics are of incredible splendour.”

As Klimt’s father was a gold engraver, goldwork had been a part of his life for as long as he’d lived. And yet, this was the first time he had allowed the gold to overwhelm him and enter fully into his art. He was amazed at how the light reflected onto the gold. The light seemed to change the entire piece as the shone into the room. It seemed so expressive and was yet another element Klimt could add to his paintings to bring them to another emotional level.

Portrait of Adele Bloch-Bauer

One of the first paintings Klimt made upon his return to Austria was the Portrait of Adele Bloch-Bauer. In this portrait, you can see precisely how the mosaics of Ravenna translated themselves into his paintings. Adele is sitting against this brilliant golden starry background. She wears a beautiful triangular-shaped dress, made up of rectilinear forms of silver and gold leaf. There was so much gold and silver leaf in the painting, the total cost of the work of art was as much as a large house in the middle the Vienna.

Each part of her dress and body is decorated in a different pattern, creating this patchwork quilt of symbolism. In parts of the paintings, the dress blends so perfectly into the background to the point where the subject becomes one with the background, almost melting into it.

Egyptian Influence

Some of the symbols used within the painting reflect Klimt’s interest in Egypt. In this painting, the Eye of Horus is repeated along the front of her dress. Egypt’s Book of the Dead is one of the most richly decorated texts from that era, and Klimt was enthralled with its imagery. Klimt was also interested in the idea of life after death. In this painting, Adele seems like she is floating in an ethereal place, which is not of this plane of reality but perhaps of somewhere between life and death.

It is rumoured that Adele was also Klimt’s model (and perhaps lover) for the painting of Judith and the Head of Holofernes. The two women bear many similarities, and the large chocker around their necks are almost identical in both portraits. Although this cannot be proven, the love and care Klimt took in her painting is irrefutable.

The Saga of the Portrait of Adele Bloch-Bauer

Long after Klimt’s death, the painting of Adele went on to transcend art history and become one of the most famous paintings in the world. During WWII, the painting changed hands multiple times, attempting to evade destruction by the Nazis. Although Adele had originally written in her will that the paintings be given to the National Viennese Art Gallery upon her death, this was because she died long before the Nazis invaded. A new will by her husband had been created to ensure the painting was kept within the family. But this was ignored and the museum kept the painting for years even though it had been sold to them by a Nazi sympathizer.

Eventually, the great-granddaughter of Adele Bloch-Bauer was able to open a new case to get the painting returned. She was able to file the case over in America where she now lived under a new law. She was finally successful and despite her long fight, she found she needed to sell as such an expensive painting just couldn’t be kept in her home. The painting was set to be bold at auction but ended up being sold privately for a whopping $135 million.

The Tree of Life 1905

The next famous painting in Klimt’s golden period was The Tree of Life, or the Stoclet Frieze. The Stoclet Palace was the home of a wealthy Belgian who commissioned several of the Secessionist artists to make art for his new palace. This piece he commissioned by Klimt was to hang on a large wall inside his dining room.

The triptych features a large swirling tree in the centre. To the left is a single woman draped in a large patterned cape, and to the right is an embracing couple. The couple’s embrace mimics the same pose of Klimt’s most famous painting, The Kiss. In the Tree of Life, Klimt continued to explore the themes of Egypt symbology he began to explore in the Portrait of Adele. The Tree of Life is an important symbol in many cultures. And in most cultures, the tree symbolized the connection between the world of human beings with that of the gods and spirits. Another ancient symbol incorporated into the painting is the repeated coils and spiral reminiscent of ancient Mycenaean.

Eye of Horus

The tree’s trunk is covered in the Eyes of Horus looking out at the viewer. Perched in the centre of the tree is a great raven or falcon. Horus was often portrayed as a falcon when the god came down to earth. Horus had two eyes, one made of the sun and the other made of the moon. The morning and the night, life and death. Just as Horus represents the circle of life, as does the tree. The tree’s swirling branches represent the different directions and ways life is a complex circle. The tree’s branches touch the sky, and its roots reach the ground, creating a connection between life and death. As if to tell the viewer there is no real end, only a new beginning in a new circle.

The woman on the right is called Expectation. Her large dress features huge pyramid motifs throughout her robe. Her face is also heavily inspired by Egyptian hieroglyphics. On the right, we have the couple who are called Fulfillment. This couple was once called the Lovers. But this name was too close to the Kiss which also shares a very similar pose. The couple is standing in a loving embrace. But in this pose, we do not see the man’s face at all as he has his back to us. The man seems to fall into the women’s arms, as the patterns on their dresses meld together as if they are becoming one. Perhaps Klimt’s commentary on the meaning of life, and how to be fulfilled, is to be loved.

The Kiss

The most famous of all Klimt’s paintings is The Kiss. It is often quoted as being one of the most romantic paintings in the world. This painting was one of the most popular posters sold at university fairs and hung on many people’s walls I lived with throughout the years. It has almost become a parody of itself but nevertheless, its power is truly extraordinary.

A couple stands in front of a starry, golden background. The ground upon which they stand seems to be blessed with fertility. Flowers bloom in a thicket in vibrant colours beneath them. So dense the grass cannot even be seen. The couple stands, almost on the edge of the earth, in a passionate embrace. Both the foreground and background are painted on the same plain. There is no depth to the painting. This reflects Klimt’s inspiration, the Ravenna mosaics. The flatness of the mosaics seemed to enthrall him, and it was through the use of light and texture that the mosaics would sparkle and shine and be given depth. But of a different sort.

Man vs. Woman

Unlike in the Tree of Life, this couple’s clothing is made of differing patterns. The man’s large robe is painted with dark geometric patterns. His robe features straight lines and more classically “masculine” colours of blacks, greys and browns. The men’s head is entangled in a crown of green vines, like the Laurel wreaths which symbolize man’s victory.

The woman also has a spray of flowers women into her hair but not as a crown, perhaps showing her submissiveness. Her dress is also distinctly more colourful. It features swirling organic forms which are classically more feminine. The circles almost resemble a women’s womb. From the bottoms of her dress, golden vines seem to creep downwards, perhaps another hint at the idea of women’s fertility.

Orpheus and Eurydice

Many art historians refer to the couple in the scene as mythological characters from the Greek story of Orpheus and Eurydice. Orpheus fell madly in love with Eurydice, and yet shortly after they were married, she was bitten by a snake and died. Orpheus, in utter heartbreaking despair, goes to the underworld to retrieve his lost love. As he was a talented musician, he managed to get past many of the obstacles in his way using these talents. When he finally found her, Hades told the lovers they could only leave on one condition. That they never look back.

The couple agreed, and after finally climbing out of the underworld and seeing the beauty of the golden sun and green grass on the earth’s surface, Orpheus turned back to look at Eurydice to see her reaction. But when he did, she disappeared forever. Klimt has captured that moment for us, frozen in time. The moment as Orpheus turns back to kiss Eurydice just before she disappears is preserved in golden amber. Her toes are curled under and clutch the earth, on the edge of the underworld, to which they just exited. That grip shows to the viewer how much she doesn’t want to let go. And lose her love forever. Despite knowing the ending, we want to see a different result for these passionate lovers. And if we cannot change the course of history, let us therein just reveal in this moment with them.

Emilie Flöge?

Many people think the woman who modelled for ‘The Kiss’ was Klimt’s long-time lover and companion Emilie Flöge. Despite never being married, the two were truly soul mates. When Klimt died, the last words out of his mouth was, “Emilie must come.” While the man in the painting doesn’t resemble perfect Klimt himself, I like to imagine this is his idealized version of himself and captures their unique romance for eternity.

En Plein Air

After the fervour of his golden period, Klimt began a new cycle of art which was inspired by his choice to start painting outside. ‘En Plein Air‘ or Plein air painting is the act of painting outdoors. This period of painting did away with the gold and silver gilt. It was replaced with a more subdued palette and subject matter. He employed a lot of purples, lilacs and salmon tones in these paintings, which some people call his “purple period.” Klimt was so interested in this new form of painting he re-made his portrait of Adele Bloch-Bauer in this new style. Since she was so important to him. He even made a painting of her daughter despite the fact that otherwise Klimt almost never painted children.

The majority of these pastel paintings surrounded his favourite subject; women. Most of them were so erotic they could not be exhibited at the time. Klimt featured portraits of female lovers wrapped in a beautiful embrace that shocked the public at the time in Vienna. But Klimt didn’t shy away from portraying all aspects of sexuality. Despite the restrained pallet, Klimt nevertheless continued to play with stylized backdrops and floral patterns. The paintings looking more and more like a kaleidoscope.

Klimt’s Death

In many of Klimt’s paintings, he seems to be interested in the idea of disease and epidemics. It is therefore pretty ironic that Klimt himself fell ill to the worldwide influenza epidemic of 1918. It took his young life at the age of 55 years old. One has to imagine how many other incredible paintings he would have made should he have lived past this epidemic. He was buried at the Hietzinger Cemetery in Vienna. He lies underneath a rather plain tombstone with only his name emblazoned on the granite but written in a perfectly Secessionist font. A subtle memorial to all the great works of art he helped create, in addition to his own works, in the founding of this group.

Klimt truly was a visionary who saw the world in a way that it is almost impossible to find its equal. While the Kiss might be his most memorable work of art, there are so many other pieces you should seek out and learn more about. They tell the real story of his life and by seeing them all together in an exhibition like Immersive Klimt is a unique experience I think is worth a visit! Let me know in the comments what your favourite painting is or what you thought of the exhibition.

Happy Travels, Adventurers!

The post Everything You Need to Know About Immersive Klimt, An Honest Review first appeared on The Creative Adventurer.

]]> https://thecreativeadventurer.com/the-ultimate-guide-to-immersive-klimt-an-honest-review/feed/ 0 29793 The Best Visitors Guide to the Art Nouveau Interiors of Prague’s Municipal House https://thecreativeadventurer.com/experience-luxury-dining-art-nouveau-aesthetics-in-pragues-municipal-house/?utm_source=rss&utm_medium=rss&utm_campaign=experience-luxury-dining-art-nouveau-aesthetics-in-pragues-municipal-house https://thecreativeadventurer.com/experience-luxury-dining-art-nouveau-aesthetics-in-pragues-municipal-house/#respond Tue, 01 Sep 2020 12:44:21 +0000 https://thecreativeadventurer.com//?p=1400 The Municipal House or Obecni Dum is one of Prague's most iconic Art Nouveau buildings.

The post The Best Visitors Guide to the Art Nouveau Interiors of Prague’s Municipal House first appeared on The Creative Adventurer.

]]> The Municipal House or Obecni Dum is one of Prague‘s most iconic Art Nouveau buildings. I was shocked upon walking in the door that this hidden gem isn’t talked about more online. It’s interiors are so stunning they rival some of the most regal palaces around the world. We had been walking around the Old Town looking for somewhere to eat when our guide recommended Prague’s Municipal House. We were blown away by the beauty and surprised that this dining experience didn’t cost an arm and a leg. Stunning environments and yet accessibly priced menus are a hard combination to find but something which Prague is so great at providing.

Table Of Contents
  1. History
  2. Admission
  3. Access
  4. Art Nouveau Architecture
  5. Interior Room & Halls
  6. Francouzska Restaurant
  7. The Plzenska Restaurant
  8. American Bar
  9. Kavárna Obecní dům Café
  10. Palacký Hall
  11. Grégr Hall
  12. Oriental Lounge
  13. Riegr's Hall
  14. Confectionary
  15. The Smetana Concert Hall and Ballroom

History

The medieval Royal Court of Prague once stood on this site. From 1383 until 1485, the Kings and Queens of Bohemia lived on the square nearby in their magnificent palace. The imperial residences were connected to the Royal Court by the nearby Powder Tower. But after Prague Castle was built, Vladislav II moved the Royal Court out to the newly fortified castle complex. After years of being unused, the old Royal Court building was eventually demolished. 

But in 1905, the city started construction on a Municipal House in the same spot as the previous court. They had it built here as this new building would serve as a modern interpretation of a medieval royal court. The building’s architects Osvald Polívka and Antonín Balšánek, set out to design the most magnificent establishment for high society. It was going to be THE PLACE to hold social events, concerts, parties and even public exhibitions. The architects hired some of the best Czech artists to decorate the interior of the new Municipal Hall. These artists’ work elevated the illustrious building’s status even further, creating a kind of artistic time capsule.

Admission

Inside there are a series of bars and restaurants open to the public. But to explore the entirety of the Municipal House, you must book a guided tour. These tours run in both Czech and English several times throughout the day. There are also handouts in other languages to allow more people to experience the building. The tour route goes from the famous Smetana Hall, through to the Confectionery hall. It then stops inside the Moravian Slovak, Božena Němcová, and Oriental Parlours. Followed by the Grégr, Palacký, Riegr, Sladkovský and most importantly, the Mayor’s Hall! The tour ends inside the American Bar in the basement of the Municipal House. Tickets for the tour cost 200 CZK per adult and reservations are recommended but not necessary.

Access

The Municipal House is located inside the old town and is easily walkable if you’re in the area. The closest metro station is Náměstí Republiky, which is only a four minutes walk from the Municipal House. You can also take trams No. 3, 9, 14, 24 to the Jindřišská stop, a 5-minute walk to the Municipal House.

Art Nouveau Architecture

The Municipal House became an icon for Prague’s fantastic Art Nouveau architecture from the minute it opened. Classical Art Nouveau features included in the building were; asymmetrical shapes, arches and curved forms, a large glass dome, plant-like embellishments, mosaics, stained glass and Japanese motifs. 

Facade

The exterior stonework is intricately carved, with vegetal details blooming from reliefs in every corner. The roof is replete with green and red tiles creating a snakeskin-like effect covering the top of the building. Along the facade are curving, ornate bronze balconies with golden leaves growing throughout.

Dome

The piece-de-resistance of the building is the bright green-domed roof, complete with gold trimmings. It feels like a regal crown on top of the rest of the structure. The dome also contains one of the most pleasing stained glass ceilings, which floods natural light into the concert hall. The dome was made to emphasize the Municipal House as a temple of the arts. 

Entrance

Above the building’s entrance, look up to see a brightly coloured mosaic designed by artists Karel Špillar. This piece is called “Prague Apotheosis.” It represents the oppression and eventual rebirth of the Czech people called. An apotheosis is the “highest point in the development of something; culmination or climax,” represented here in the architecture of Prague’s Municipal House.

On either side of the mosaic are two bronze sculptures. The one on the left is called the “Humiliation of the Nation.” The woman in the center is surrounded in flowing robes, like angel wings. She holds her head to the side, almost as if ashamed to show her face. The sculpture on the right, contrastingly, is called the “Ressurection of the Nation.” This woman stands tall, with a bronze eagle perched on her forearm. The eagle, the symbol of Moravia and the rebirth of the Czech Republic. The Municipal House was built at the very end of the Czech National Revival movement. This cultural event occured during the 18th and 19th century. It’s purpose was to revive the Czech language, culture and national identity.

Before you walk inside, you pass under a splendid wrought-iron canopy, covered in brightly coloured stained glass. The frontispiece a great example of how art nouveau uses every architectural details as an opportunity for ornamentation. The two columns supporting the entrance are topped with two brozen figures. In their are they carry an electric lantern made by Karel Novak. The models appear to mirror the shape of Atlas as he carries the world on his back. Almost as if to say that this building is itself on top of the world.

Interior Room & Halls

Inside the Municipal House, there are so many different places to eat, drink and be entertained. Each one of the rooms and halls inside was named after notable individuals from the Czech culture. You can eat lunch in an elegant French restaurant. Or drink pivo at a traditional Czech beer hall. Perhaps you want to enjoy a slice of cake (or two) at the stylish Czech café, or sip cocktails at the “American Bar“. If you really want to splash out you can attend a first-class concert at the fabulous Grand Concert Hall, all under one roof. All these places are accessible to the public.

If you cannot take a guided tour of the rest of the interiors read the rest of this post. I’ve made sure to talk about the most important rooms inside the Municipal House. This way, if you’re sitting inside the cafe, you can still peruse images of what the rest of the building looks like.

Francouzska Restaurant

If you don’t have time for a concert but are longing to enjoy the elegant art nouveau environment, choose from one of the many dining options inside the Prague’s Municipal House. Francouzska Restaurant is one of the finest culinary experiences you can have in Prague. Golden art nouveau inspired chandeliers pour off the high ceiling. The large windows allow the entire room to fill with light and all the gilt and glass details simply glimmer with excitement.

Throughout the restaurant, you’ll find original furnishings from the beginning of the 1920s. Even the silverware is period-perfect. Throughout the restaurant, you’ll find reproductions of decorative paintings such as “Prague Welcoming its Guest” by J. Wenig and “Hradcany and the New World” by A. Zahel in the salon. Stucco designs of the art nouveau period patterns adorn entertaining diners. Dining here is like entering a living museum. This is the most expensive of all the restaurants in the Municipal House but worth it for the experience. The restaurant is unfortunately temporarily closed until the end of 2020 for renovations.

The Plzenska Restaurant

The Plzenska restaurant, which is on the lower level, is a slightly more affordable option. It is famous for its traditional Czech cuisine and friendly beer hall atmosphere. I think this is truly the best beer hall in the entirety of Prague. It is stunning to look at while also comfortably casual. There is something about the brightly coloured blue tiles set against the rich oak panels and the simple, yet elegant, stained glass that make you feel like you’ve been invited into someone’s prized dining room. The food here is also impeccable. If you have yet to sample any classic Czech meal, this is the perfect place to do so.

American Bar

Also, in the basement is the “American Bar.” Here you can get a well-made cocktail or spirit and enjoy the swish atmosphere of a 1940’s salon. The vaulted room features a vestibule decorated with the picture “Heron” by Mikolas Ales. Several copies of the artist’s famous drawings are also located inside the recesses of the bar. The American Bar was one of the first public establishments which ladies could visit without a male accompaniment and that atmosphere of bohemian freedom is still present today.

Kavárna Obecní dům Café

To finish off your dining options inside the Municipal House, wander into the Kavárna Obecní dům café, on the ground floor. This cafe is considered to be one of the best in the world. Although they are most famous for their desserts, this is also a great place to grab a bite to eat if you’re looking for a good meal at a reasonable price.

All the furnishings from the chandeliers, mirrors and fabulous electric lighting in here was designed by Osvald Polivka, one of the most aesthetically pleasing art nouveau designers of the time.

It’s open late, so it’s a great option to grab that last coffee before heading out for a night on the town, or a nightcap before going to bed (which is more my speed). During the summertime, the patio out front is a charming place to people watch. You can sip your coffee early in the morning watching the locals heading off to work.

Although main courses are delicious, their sweet treats are where they really shine. Homemade cakes make the rounds in glass trolleys so you can see the goods before you buy them. Their cream cake with fresh berries is a incredible creation that will satisfy any palette.

While waiting on your food take some time to wander around the restaurant. Check out the fountain at the back of the cafe with a sculpture of a beautiful Nymph in the center by artist Josef Pekarek.

Tours of the Municipal House

To explore the private rooms throughout the rest of the building, you’ll need to book a guided tour. The tour will take you throughout the Smetana Hall, Confectionery, Moravian Slovak Parlour, Božena Němcová Parlour, Oriental Parlour, Grégr Hall, Palacký Hall, Mayor’s Hall, Riegr Hall, and Sladkovsky Hall. The tours run about twice a day in English and cost 290 Kč for adults.

Mayor’s Room

If you’d rather just read about what’s inside, while you enjoy your meal, I’ve written out the details of the other fantastical spaces inside Prague’s Municipal House. Hidden away behind locked doors, up on the third floor, accessible only by guided tour or private rental, is the great Mayor’s Room. Seeing as this was the room where guests initially would be greeted upon entry, the architects wanted it to feel so awe-inspiring right from the get-go. The architects hired the best art nouveau artists to decorate their interiors, and none were more infamous than Alphonse Mucha himself. Mucha had been charged with painting the interior of this superior room. Mucha not only painted all the murals you see here but also created everything from the decorations to the furniture, curtains and even down to the very last lamp.

Vaults & Lunettes

Each of the vaults holding up the great dome is painted with figures from Czech history framed alongside symbolic images of the civic virtues. The most notable of them is Jan Hus, dressed in his scholarly dark robes, with the beautiful woman of Justice, standing behind him. You can also spot general Jan Žižka painted alongside Fortitude and the Chodové (a Medieval guard) with the image of beady-eyed Vigilance. Jan Amos Komensky is painted with Loyalty, and St. Ludmila and St. Wenceslas are swathed in the arms of Maternal Wisdom.

On the lunettes that encircle the room are various paintings by Mucha detailing different morality themes upon which the Czech culture was built. A darkened image displays the “Holy Mother of a Nation, Accept love and fervour of your son.” A fiery portrait of three people depicts “With Power comes Freedom – with love, Unanimity.” On the right, a haunting painting shows tortured souls lost in the darkness, an image representing the theme “Humiliated and tortured – resurrected, you will be in our homeland.”

On the walls in between each of these murals are silver capitals with women’s faces carved upon them. These faces represent loyalty, fortitude, maternal wisdom, justice, independence, non-submissiveness, vigilance and strength. The embroidery on the curtains here was designed by Mucha himself and features a motif of peacocks abstracted plumed feathers. 

On the walls of the mayor’s hall are a series of armchairs. Inlaid into the backrests are paintings entitled, “The Czech Crown” and the “Weeping over the Destruction of the Homeland” by Alphonse Mucha.

Palacký Hall

To the west of the Mayor’s Room is Palacký Hall. This room is covered in figurative paintings by Jan Preisler. The interior fur shined with art nouveau chandeliers, brass mirrors all in Assyrian style. The Assyrian artistic style is from the ancient world, first appearing in 1500 BCE but breathed new life by the art nouveau period. The style features relief sculptures made in stone.

A bust of Palacký by Josef Václav Myslbek stands in the rooms honouring the Czech historian and politician. Palacký was one of the most influential people in developing the Czech National Revival and called “Father of the Nation.” On the ceiling is a great fresco featuring the scene of a young boy and girl surrounded by a flock of flying birds.

Grégr Hall

Further to the west, we find Grégr Hall. This long room features a large balcony on its left-wing, providing the most stunning views across the city. The room is tiled in artificial marble, giving it a regal, luxurious appearance. On the western wall, we can find a triptych entitled “Songs of love, war and death” by František Ženíšek. There is another triptych called “Life, poetry, death” by the same painter on the ceiling. It’s interesting to see so many death paintings in such a vibrant space, but perhaps this image of impending death allows us to remind us to live life to the fullest.

Oriental Lounge

At the end of Grégr Hall, there is a small staircase leading to the Oriental Lounge. This room features decoration inspired by Islamic-Anatolian art. It was originally known as the Serbian lounge. Anatolia had a strong Byzantine and Armenian Christian heritage, which is visible in its artforms.

Riegr’s Hall

The room, opposite Palacký Hall, called Riegr’s Hall, is embellished with images of notable Czech personalities painted by Max Švabinský. He titled the paintings “Czech Spring” as it features all these different influential men together in imagined scenes of an idyllic springtime. Busts of politicians František Ladislav Rieger by Josef Václav Myslbek are also featured inside this room. The lower half of the room is painted a rich Azul blue and covered in lush blue stuffed benches.

Confectionary

At one point in the building’s history, the Municipal House had its own confectionery and patisserie! It was the largest of the relaxing salons, often called the “ladies’ parlours.” Although no sweet treats are being made fresh inside this room today, it is still one of the most fabulously decorated rooms in the building. Filled to the brim with gilt stucco decorations and oak framed mirrors, the place absolutely sparkles.

The Smetana Concert Hall and Ballroom

The Smetana Concert Hall and Ballroom are located right under the magnificent glass dome. To visit this place outside of being on tour, you’ll need to have booked a ticket to see a performance. The concert hall plays hosts to many musicians and is the home to the Czech National Symphony Orchestra.

Inside this room, you’ll find artwork pieces by Alfonse Mucha, Jan Preisler and Max Švabinský decorating the ceilings and walls. The interior of the concert hall is covered in white stone and gold filigree. The entire theatre is illuminated by hundreds of tiny lights, casting a gentle golden glow upon the people below. The stage is framed by arcing sculptures depicting Vyšehrad legends and Slavic dances. It is truly an honorific place of Czech arts and culture.

iMucha’s Exhibition

Currently on display inside the Municipal House is the iMucha Exhibition. This gallery uses technologies of the 21st century to display numerous of Mucha’s art posters which have been digitally remastered to be displayed with motion. Transforming the static material into a lifelike work of art. The exhibition also presents over 200 artifacts from the artist’s life. Tickets to the exhibition costs 290 Kč for adults but there is a discounted price if you book with a guided tour. Running until March 2024.

If you have the chance to tour Prague’s Municipal House, run, don’t walk, to visit! Don’t let the rather dull name of the building fool you; this place is one of the most outstanding artistic achievements of the Czech National Revival and deserves all your attention. Plus, there is nothing better than dining inside an incredible environment to fill your eyes and mind with wonder and excitement.

Let me know what treasures you discovered in Prague or if you’re planning on visiting the Municipal House for yourself on your next trip!

Happy Travels, Adventurers!

The post The Best Visitors Guide to the Art Nouveau Interiors of Prague’s Municipal House first appeared on The Creative Adventurer.

]]> https://thecreativeadventurer.com/experience-luxury-dining-art-nouveau-aesthetics-in-pragues-municipal-house/feed/ 0 1400 Discover & Uncover the Hidden Gems of the Basilica of St Peter and St Paul in Prague https://thecreativeadventurer.com/discover-saint-peter-and-paul-basilica-pragues-hidden-gem/?utm_source=rss&utm_medium=rss&utm_campaign=discover-saint-peter-and-paul-basilica-pragues-hidden-gem https://thecreativeadventurer.com/discover-saint-peter-and-paul-basilica-pragues-hidden-gem/#comments Fri, 28 Aug 2020 21:30:17 +0000 https://thecreativeadventurer.com//?p=1402 The Basilica of St Peter and St Paul in Prague often makes the top ten list of the...

The post Discover & Uncover the Hidden Gems of the Basilica of St Peter and St Paul in Prague first appeared on The Creative Adventurer.

]]> The Basilica of St Peter and St Paul in Prague often makes the top ten list of the “Best Churches in Prague” but rarely tops the “Must See Attractions” list. And yet, I find it to be one of the most impressive pieces of Slavic Art Nouveau architecture in the city. When you see pictures of this place or walk inside its doors, it’s unbelievable that this church isn’t the first place people are told to visit when they come to Prague. Even if you’re not religious, the sweeping art nouveau murals which envelope this building are extraordinary and a must-see when travelling to Prague!

Touring the building also serves as a history lesson about the Slavic people, Czech culture and even art. The basilica doesn’t have St. Vitus’s lofty status or the draw that St. Nicholas’ Church gets. But if you make an effort to come down and visit, you’ll see what the rest of those unknowing tourists are missing out on.

Table Of Contents
  1. History
  2. Location
  3. Hours & Admission
  4. Towers
  5. Facade
  6. Interior
  7. Frescos
  8. The Treasure Room
  9. Vyšehrad Cemetery

History

The church was founded in 1070 by the Czech King Vratislav II. Initially, it was a simple Romanesque Basilica. Prince Vratislav II had the church built in purposeful opposition to St. Vitus Cathedral in Prague Castle. Almost a hundred years earlier, his predecessor, Wenceslaus I, had built St. Vitus Cathedral. But rather than pray instead of this old church, Vratislav wanted to make something of his own to mark his reign. In Vyšehrad, Vratislav was said to have brought 12 baskets of stones upon which they built the foundation of what would become the Basilica of St Peter and St Paul.

But, in 1249, a great fire destroyed the church, and the original design was lost to the ages. The first reconstruction was a relatively meagre endeavour meant to restore the building only in function and not in fashion. Years later, a baroque frontispiece was added to the church, but the neo-gothic renovations in the 1880s removed any trace of this architecture.

Joseph Mocker

In 1885, a new renovation was commissioned to create an elaborate, neo-gothic church. Master builder Joseph Mocker was the original architect, but he died halfway through construction. His partner František Mikš finished the job. Now having complete artistic control of the operations, Mikš made a few changes to the original layout to suit his own personal style. His main addition to the design was the towering facade that the church is now so famous for. As it peaks out of the hillside in Vysehrad.

Location

The Basilica is located inside the complex of Vysehrad. Vysehrad is one of Prague’s old fortresses situated on a high cliff above the river Vltava. From here, soldiers could easily see any incoming armies and it was a prime location for Prague’s infantry. In the 11th century, Vysehrad was also the seat of the first King of Bohemia. After the Holy Roman Emperor Charles IV began to build the Prague Castle in the early 14th century, Vyšehrad was abandoned as the royal family’s primary residence.

The complex was left to deteriorate for years and wasn’t touched until Charles IV decided to renew the area. He wanted to build new fortifications, a new royal palace, and finally see to the renovations at the Basilica of Saints Peter and Paul. But, with the Hussite war’s dawn, progress was discontinued, and the church was ransacked once more. It wouldn’t be for another few hundred years that the church would be restored to a new form of heavenly glory.

Aerial view of Cathedral of St. Peter and Paul, Vysehrad, Prague

Hours & Admission

November – March
Monday – Saturday 10 am – 5 pm
Sunday 11:30 am – 5 pm

April – October
Monday – Saturday 10 am – 6 pm (5:30 on Thursday)
Sunday 11:30 am – 6 pm

There is a small entrance fee to access the church. Adult entry costs 90 CZK ($4 USD), which is more than worth it to explore this treasure!

Towers

Upon walking up to the church one of the first things you’ll be drawn to, are the two huge towers, which flank the skyline. Let your eyes float up to the top of the spires, and notice that they are indeed hollow. Their design was influenced by the chestnut flowers’ cone-like formations. Architect Miks was inspired by these plants, which bloom right behind the church in Vyšehrad cemetery. Decorating the spires’ outer edges and the triangular gables are frilled, petal-like protrusions which make the entire structure look more naturalistic than man-made.

Facade

The design of the building is quite unique as it features no transept. A transept is the part of the building that forms the classical shape of a cross and cuts through the center of the church. Since the building has no horizontal intersection, when you look at it from the front it almost looks like a movie set, an exterior with nothing behind it. So when you walk inside, it’s almost a surprise to see his lofty, extended interior.

Above the central entrance door is the tympanum, decorated an intricate carving of Jesus standing tall beside his apostles, during the Last Judgement. Below the group of the apostles, St. Michael is centred, ushering people into heaven. A chorus of angel trumpets their horns above his head, announcing their entry to the heavenly realm. The people around St. Michael are sculpted as crippled and in pain, weighed down by the burden of their sins.

Entrance door of the neo-Gothic Saint Peter and Paul Cathedral in Vysehrad fortress, Prague. In 2003 the church was elevated to basilica by Pope John Paul II.

St. Peter and St. Paul

Above the central portal is a great pediment featuring the two saints’ statues after which the church is named after. St. Peter and St. Paul are set on either side of the sculpture of Jesus, crowned with a golden halo, reaching his hand out in prayer to the people below.

Mosaics on the church’s frontispiece, set into quatrefoils frames, depict St. Peter and St. Paul’s portraits. Peter’s symbols are a set of keys, which are the keys to heaven. Peter is the one with a bright white beard wearing papal vestments. Paul holds a book and a sword with a hilt in the shape of a cross in his hands. Paul is depicted as traditionally represented with a long pointed beard and a more modest, grey robe.

Portals

The portals on either side of the central entrance are adorned with brightly coloured mosaics. Etched onto the church’s door are the symbols of the coat of arms of the Czech Republic. The silver double-tailed lion on a red background and the black Moravian eagle are repeated across the grand entrance doors.

Above the entry doors, on your left, is the emblem of the Vysehrad Chapter house. The chapter was established here at the basilica around 1070 at the behest of Bohemia’s first king. The branch was subordinate only to Rome and could influence many aspects of Bohemia’s internal and foreign policy. Their emblem is two golden keys crossed tied together by rope. A symbol you’ll come across multiple times throughout your visit here.

Interior

As you step into the church, the first thing you’ll be stuck with is the fact that from floor to ceiling, the entire building is COVERED in murals and paintings. Not a column, nor walls, has been left untouched. The detailed pictures sweep across the walls like embroidery covering a royal gown. Floral trimmings cover every inch of the temple, giving you the feeling of walking into a forest.

Art Nouveau

As you walk inside, the light shimmers off every surface. Gilding and gold leaf were used in abundance during the renovations. But unlike other neo-gothic cathedrals and churches of the time, this one is not purely high gothic, but instead embraces art nouveau sensibilities. Art nouveau was sweeping the nation during the time church was being renovated. Art nouveau attempted to reject academic, historical art and instead embraced natural forms, movement, asymmetry and modern materials.

The addition of art nouveau inside this old church feels shockingly appropriate as the first King of Bohemia himself aimed to reject any previously established traditions when he originally built this church.

Frescos

The Basilica’s most extraordinary characteristic is the gilded frescos, which surround the faithful who come to pray. These paintings are ornate, undulating images by painter František Urban and his wife, Marie Urbanová-Zahradnická. These paintings look famously similar to the iconic designs made by famous Czech painter Alphonse Mucha. Many people who visit the church might even be convinced they were by Mucha if they further inquired. But Mucha was merely a trendsetter who inspired Urban and Zahradnická to fall on the bandwagon. Women and men, with delicate features and cascading hair, embellish the walls and archways.

Running up every pillar are blooming patterns and colourful ribbons. The walls contain lots of vivid greens and deep brown hues, continuing the woodland theme. Even the dark church benches were carved with oak leaves, bringing the outdoors inside. Not a single item inside the church was left untouched by Art Nouveau’s seductive technique.

Murals

The murals on the northern wall feature images of St. Cyril and St. Methodius’ arrival in Bohemia. St. Cyril and St. Methodius were two brothers, theologians and missionaries who made their mark in Christianity by evangelizing the Slavs. They are known as the “Apostles to the Slavs.” Their life story is told across these murals framed by a series of angels who look down on the scene from heaven. Although there might not be any text to follow the images, it’s a visual way of understanding this part of Czech history. On the south wall, the murals depict the establishment of Vysehrad in the Czech Republic.

Look up at the vaults on the ceiling. Even they are painted with images of beautiful angels in prayer, looking down on the faithful below.

Stained Glass Windows

Brightly coloured stained glass enhances the outer walls of the Basilica. Each window depicts a scene from the bible. But what makes these windows even more interesting to study is to look at the elements of architecture that have been incorporated into the glasswork. This is done almost to evoke the idea that architecture itself is a form of religious devotion. Renaissance tracery windows, gothic quatrefoils and baroque altarpieces all serve as the framing devices around these dramatic biblical stories.

Chapel of St. Clement

Walking into the church, we will study it from the right side chapels, towards the altar and then continue back down the left side chapels and finish in the treasury. The first chapel you see upon entering on your right is the Chapel of St. Clement. Here, you can look at a Romanesque sarcophagus from the 12th century. During the Romanesque period, a crypt was built in the church to bury the first Bohemian king and his descendants. This coffin most likely belongs to one of these royal family members. Despite its modest and unassuming appearance, it’s one of the oldest treasures of the church.

Chapel of Czech Patron Saints

Inside the Chapel of Czech Patron Saints is a fabulous neo-gothic altar sculpted by Czech artist J. Kastner in 1910. In the center of the altar is Christ on the cross, heavenly rays illuminating from his body and from behind the cross, forming a golden backdrop. Below him are gathered St. Cyril and St. Methodius dressed in brighly coloured robes. In front of them kneels St. Wenceslas on the left and St. Ludmila on the right. On the left side of the group are Czech saints St. Vit and St. Vojtěch, and behind them stands St. Sigismund and members of brotherhood of martyrs. On the right side, kneels St. Jan Nepomucký and St. Prokop. Above them stands St. Norbert, Vol. Anežka, and Damian, St. Ivan, vol. Josef.

Chapel of the Virgin Mary of the Rain

One of the most important items found here in the basilica is the Dešťová or the icon of the Virgin Mary of Rain. She can be found in the fourth side chapel from the right after entering the church. This wooden polychrome icon depicts the Virgin Mary and the baby Jesus set against a vibrant blue backdrop. The background is textured to give the mother and child the appearance of being caught in a rainstorm. The ground on which they stand is bright green like it is growing swiftly beneath them.

The painting was made around 1356 and is legend to have been painted by St. Luke himself. This icon is one in which people come from all over the country to pray in front of, especially in times of drought. The reason for this is because in 1638 there was a great drought in Prague which the icon is said to have stopped. During the drought, one of the priests of the Vyšehrad chapter had a dream that if he held a procession with the Madonna, it would start to rain before the crowds made their way to a nearby monastery. The priest organized the march, and sure enough, it rained in Prague for the next three days. The people of Bohemia saw it as a miracle, and ever since, the painting has been venerated by all those who believe in it.

Memorial Plaque

To the left of the Chapel of the Virgin of the Ramparts is a bronze memorial plaque placed on a column close to the altar. This memorial plaque is dedicated to Vratislav II, the first King of Bohemia. The plaque is a modern addition to the church added in 1992 on the 900th anniversary of the King’s death. If you look at the shape embedded onto the plaque, it models the original basilica floor plan. On either side of the statue of the King are two crests, one which contains the black eagle of Moravia and the other has the two crossed keys which are the emblem of the Vyšehrad religious chapter.

Presbytery

On either side of the presbytery, there are murals depicting St. Peter and Paul’s legend. We can see the ‘Conversation of St.Paul‘ on the top left pediment on the northern wall. The following small scenes show his miracles: healing the disabled, his conversations with God while in jail and finally his beheading and subsequent canonization

On the southern side, we have the legend of St. Peter. On the top, we see Jesus converting his first disciples, which include Peter himself. In the lower images, we can see scenes of Jesus and Peter’s life together. It follows their journey leading up to Jesus’ crucifixion, including the moment when Peter denied Jesus. At the bottom of the mural, we can spot St. Peter performing miracles and his eventual death in the same manner as he had seen Jesus be put to death.

Altar

The main altar, framed in front of a series of brilliant stained glass windows, contains depictions of the Slav Saints Cyril and Methodius. It was carved by the architect and woodcarver Josef Hrubeš. The entire altar took over 5 years to be completed and was finished in 1889.

Pulpit

The gracefully carved wooden pulpit on the left of the nave features reliefs of the various priests who preached and were prior members of the Vyšehrad Chapter. The pulpit was designed by architect Josef Mocker and carved by woodworker V. Mráz in 1883.

Devil’s Pillar

After getting over the initial awe and wonder of the interior, take a walk towards the sacristry. Although you cannot enter the doors of the sacristy, take a look at the mural painted above the entry. Here we find a large baroque painting depicting the legend of the “Devil’s Pillar.”

The Legend

The legend goes that a priest in Bohemia, had a severe problem with gambling. In the hopes of freeing himself from his debts, he asked the devil to trade his soul for some luck. But shortly after making the deal, he greatly regretted this decision and asked the devil to forget the agreement. But the devil would not give up on a soul that easily. Instead the devil made him another bet. He told him that if the priest could finish celebrating mass before the devil could bring a column from St. Peter’s Basilica in Rome to Prague, he would release him from his contract. The priest ran as fast as he could to the church where he began preforming mass.

Of course, the devil cheated, and when he arrived by magic with the pillar in hand, St. Peter appeared and threw the devil into the sea three times. Each time he threw him, St. Peter broke the column until it was broken into three pieces. This allowed the priest to finish preforming mass, and his soul was saved. The three pieces of the Devil’s pillar were brought to Prague and can still be found in a nearby park close to the church.

Chapel of St. Francis of Assisi

The Chapel of St. Francis of Assisi contains a neo-gothic altar with paintings of the life of St. Francis surrounding a large portrait of the saint himself. One of the best ways to identify St. Francis is by how he holds his hands outwards to show off the stigma that appears on them.

Chapel of St. John of Nepomuk

St. Jan Nepomucký or St. John of Nepomuk is one of the most famous saints in Bohemia. Nepomuk was drowned in the Vltava river at the behest of Wenceslaus IV when Nepomuk would not divulge the queen of Bohemia’s confessions to the King. His chapel here in the church contains a Neo-Gothic relic altar. Across the altar are scenes from the life of St. John of Nepomuk by Josef Mathauser who painted it around 1700. In the center of the altar of dozens of relics which are said to contain pieces of the saint himself.

Chapel of Our Lady of Sorrows

Inside the Chapel of Our Lady of Sorrows is an alluring sculpture of the Pietà by Ferdinand Stuplesser made in 1898. It was modelled off Michelangelo‘s famous Pietà in Rome but features sharper edges and more angular drapery, reflecting the style used in medieval manuscripts.

The Treasure Room

The Vyšehrad Chapter was one of the more affluent monastic groups and collected valuable liturgical collections over the years. But in 1611, many of their most precious objects were looted during the Hussite wars. A few of their most treasured items were hidden away and can be seen on display inside the treasury. The Treasury inside the church contains all different precious ecclesiastical Czech objects. Baroque illustrated manuscripts, golden chalices and gem covered books hid behind protective glass.

Some of the most precious items included in the treasury are reliquaries. A reliquary is a container for relics such as a saints’ physical remains, such as bones, pieces of clothing, or some object associated with saints or other religious figures. Here in the Basilica of St. Peter and St. Paul’s treasury you can find

St Valentine’s Relic

St Valentine’s relics. It is supposedly a chip of his shoulder blade. It was lost for years, and as recently as 2002, it was uncovered hidden away inside a gold-and-glass Baroque reliquary in the back of a long-forgotten storage closet.

Vyšehrad Cemetery

The set behind the church is the Vyšehrad Cemetery. Built in 1869, the cemetery was created as a resting place for some of Prague’s most treasured creatives. Here lies dozens of composers, artists, sculptors, writers, as well as those revolutionaries from the world of science and politics. The cemetery is the largest in Prague spreading over 0.81 hectares.

The Slavin mausoleum at Vysehrad Cemetery. Prague, Czech Republic

Slavín Tomb

The most majestic part of the cemetery is the Slavín Tomb, designed by Antonín Wiehl. The Slavín Tombs are considered a ‘pantheon,’ “a building in which the illustrious dead of a nation are buried or honoured.” The dramatic sculpture atop the tombs was carved by Josef Mauder. The pantheon contains 44 burial tombs, as well as various coffins and urns. 55 people were buried here under the magnanimous sculptures of “Mourning” and “Victory” represented as two alluring women.

Famous Graves

Buried here is Alphonse Mucha, king of Czech Art Nouveau, along with; composer Antonín Dvořák, Art Nouveau sculptor Ladislav Šaloun, author Karel Čapek and many more.

The first person to be buried inside the Slavin Tomb was poet Julius Zeyer in 1901. On the tomb is inscribed one of his verses, “Its sons’ dust this mourning country returns to the earth. Their deeds it will, rejoicing, declare to all mankind.” Above the panels on the Slavín is written their motto, “Though dead, they still speak.”

The rest of the tombs and gravestones found throughout the cemetery are wildly creative and works of art. It seemed like one after another, when people would pass away and be buried here, there was an expectation that their gravestone wouldn’t be something simple or traditional, rather something far more extraordinary.

There is even a large arcade, decorated with Tuscan sandstone pillars and a vaulted ceiling covered in art nouveau style paintings.

This brings us to the end of the tour, but if you’re interested in spending more time in Vyšehrad, I implore you to do so! Just like this church is such a hidden gem, Vyšehrad has so many incredible places to visit and excellent restaurants that are happily tucked away from the tourist hoards.

In the comments, let me know if you were surprised not to see this church on other “must-see” lists in Prague or if you’ve been there before and were just as amazed as me by what you discovered!

Happy Travels, Adventurers!

The post Discover & Uncover the Hidden Gems of the Basilica of St Peter and St Paul in Prague first appeared on The Creative Adventurer.

]]> https://thecreativeadventurer.com/discover-saint-peter-and-paul-basilica-pragues-hidden-gem/feed/ 1 1402 Everything You Need to Know Before Visiting Centralbadet Stockholm https://thecreativeadventurer.com/everything-you-need-to-know-before-visiting-centralbadet-a-unique-relaxing-escape-in-stockholm/?utm_source=rss&utm_medium=rss&utm_campaign=everything-you-need-to-know-before-visiting-centralbadet-a-unique-relaxing-escape-in-stockholm https://thecreativeadventurer.com/everything-you-need-to-know-before-visiting-centralbadet-a-unique-relaxing-escape-in-stockholm/#respond Thu, 20 Aug 2020 14:02:07 +0000 https://thecreativeadventurer.com/?p=17330 Find out what makes Centralbadet one of the most relaxing and unique experiences to have when visiting Stockholm!

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]]> Last Christmas, while wandering in Stockholm, I had meticulously planned each day’s activity. I knew the closer we drew to Christmas day, the more businesses would be closed. So I needed to pack in as much as I could before then. As the week wore on, and my bones had been chilled from being outside all day for a week, I stopped in at Stockholm’s Centralbadet to warm up and relax! Centralbadet is a bathhouse located in the centre of Stockholm, yet almost hidden away.

This magical place is tucked in off of one of the cities busiest shopping streets. Walking under the old wrought iron sign, and through the winter-worn garden, I almost felt as if I was someplace I wasn’t supposed to be. But after poking my head inside the large art nouveau building, I could smell the waters and warm cedar of the saunas. I knew I was in the right spot!

Table Of Contents
  1. About Centralbadet 
  2. About Nordic Saunas 
  3. Price and Inclusions
  4. Spa Treatments
  5. What to bring?
  6. Etiquette & Advice
  7. The Experience
  8. Dressing Room
  9. Roman bath
  10. Thermal bath
  11. Hydrotherapy Pools
  12. Cold Pool
  13. Saunas 
  14. Steam Bath
  15. Roof terrace
  16. The Eco-bar

About Centralbadet 

Centralbadet was opened in 1904. It was designed by architect Wilhelm Klemming who wanted to create a calming, natural retreat from the city. A window into nature. The sprawling interior covers 3,500 square meters, which is all quite the surprise considering the rather tiny entrance. Every corner of the spa features beautiful art nouveau designs and feels like you’re stepping back in time.

About Nordic Saunas 

It is very Swedish to go to the sauna. The Nordic tradition of sauna dates back more than 1,000 years. Bathing in these peaceful waters and sitting in the hot sauna helps strengthen your body and soul. Saunas were early day pharmacies as even the ancient Romans used them as cure-alls. They are thought to lower cholesterol, build up the immune system, help you sleep better at night, reduce stress, clear up the skin, and more!

Price and Inclusions

The basic entrance price to Centralbadet includes access to their art nouveau swimming pool, the relaxing Roman bath and sauna area with hydrotherapy pool, thermal spa, Kneipp bath, cold pool, steam bath, and a;; the various saunas. During the summertime, you will also have access to the outdoor gym on the rooftop terrace. There is also an indoor gym for use throughout the year. If you want to save a lot of money, you can purchase just the basic entry package, which simply includes access into the baths and saunas.

The basic entry fee is:

Monday – Thursday: SEK 300 ($35 USD)
Friday – Sunday (and holidays): SEK 400 ($46 USD)

Relax Package

The ‘relax package’ gets you entry to everything above but also includes: a bathrobe, towels, slippers and a swim cap. This costs:
Monday – Thursday: SEK 410 ($47 USD)
Friday – Sunday and holidays: SEK 510 ($58 USD)

Note: Due to COVID, currently, you must make reservations even just for the waters. So be sure to book before you arrive as they are not accepting any walk-ins.

Spa Treatments

If you are interested in having a spa treatment, there are a myriad to choose from. Everything from classic Swedish (very appropriate) to hot stone, Thai and crystal healing. Each of these costs around 800 SEK ($92 USD) plus your entrance fee. Remember to book any of these treatments in advance to secure your spot with the massage therapist.

What to bring?

You’ll need a swimsuit for sure, and if you’re only buying the basic package, you’ll need to bring a towel and slipper with you as well. If you want to bring a swimming cap, you can, but as long as your hair is up, you don’t require one. I ended up buying the ‘relax package‘ during my visit since I didn’t want to lug around my wet towel at the end of the day. Also, those large comfy robes were totally worth it to lounge around in.

If you arrive in Stockholm and don’t have any of these items, almost everything is available for rent or purchase at Centralbadet upon check-in. When I came, I thought I had packed my bathing suit, but stupidly found that I had forgotten back of it back at the hotel! Luckily, I managed to rent on from the front desk for only $7 USD and was relieved not to have to run out in the cold again when I was all ready to relax!

The warm environment inside the spa is the perfect place for doing hair wraps and faces masks. The spa is totally cool with you bringing your own home, so don’t forget to grab one before you come. They also offer plenty for sale at the reception desk if you’d prefer to buy one there.

Etiquette & Advice

  • Before going into the saunas or pools, always shower before entering. This cleanses your body from any sweat or dirt and prevents contaminating the pools. You must make sure to do this not just once, but anytime you move from the pools into the saunas and steam rooms. And vice versa.
  • Here at Centralbadet, the spas are mixed genders, so men and women can both use almost all the facilities together. Bathing suits are required in the pool areas. But you cannot wear a bathing suit in the sauna and steam rooms. You are although required to wear a towel for modesty.
  • The spa has one women’s only sauna, where women are allowed to remove their towel to relax in the nude. You have the option of keeping your towel on but don’t be shocked if you see most women there bearing all. There is something so freeing about doing this, and if you’re brave enough I would highly recommend it. No one will judge you, it is considered the norm here. But remember to ONLY do it in the women’s only sauna!
  • Try to keep any talking to a low volume when in any of the pools. In the steam and sauna room, they aim for almost total peace and quiet. If it’s just you and friend alone in there, you can quietly talk for sure. But, if anyone else enters, it’s polite to keep silent as many people use these hot rooms for meditation.
  • Drink lots of water! It’s essential when using the hot steam and sauna rooms to keep hydrated. Sometime you might feel a bit dizzy, so don’t hesitate to leave and cool down. Centralbadet also has these super neat cooling stations, which blow cold air directly at your body. Stand in front of one, and you’ll immediately cool down your body temperature.
  • Never push yourself! If you feel hot, take a break. Head back to the pools and cool down. Everyone can handle the heat for different periods of time. Don’t feel like you need to keep up with the Swedes who can stay inside these sweltering rooms for ages. They are made of different stuff!

The Experience

Dressing Room

After you pay for your entry into the spa and are provided with any towels or robes (if you purchased that package), you’ll head next into the male and female changing rooms. The dressing rooms are stunning, and one of my favourite places in the spa visually. It was a treat to change and dress at the end of the session in this beautiful environment. One of my favourite things were tiny shell-shaped sinks with water lilies painted on to the porcelain. Almost all of the decor and furnishings are originals from the 1900s, and each item felt so precious and unique.

After showering and changing into your bathing suit, you head out of the dressing rooms into the buttercream painted hallways which lead you throughout the complex of pools and saunas. It really does feel like a maze, with narrow hallways leading up and downstairs to get to your destination.

Roman bath

The first thing we did upon entering was to seek out the famous Art Nouveau swimming pool. Walking into the room, I was overwhelmed by the beauty of this space. The ceiling’s bowed roofline framed with stage lights and the walls were illuminated in pale yellow, pinks and rose. On the left side of the room, towering palm trees and green plants gently swayed. 

This room is truly the piece-de-resistance of the spa. I took a seat on one of the cedar lounge chairs and took it all in for a few moments. The pool was the PERFECT temperature to swim in. Not too hot but not too cold so you could slip right in. If I lived in Stockholm, I’m sure I would be here everyday! There were a few shower stalls on the back wall, which were adorned in the most elaborate undersea designs. Coral reefs burst with colour, and painted ceramic fishes swim joyously around them.

There is a small upper balcony area above which wraps around the pool. In one of the corners, hidden up there, is a large hammock, and if you’re lucky enough to find it empty, be sure to jump right in!

Thermal bath

After swimming around the refreshing waters of the main pool, we headed into the thermal bath area. Thermal bathing has been around since Roman times. A thermal bath is a hot or tepid bath used to treat both chronic and acute diseases and provides relaxation and stress relief. It improves circulation, which helps deliver nutrients and remove toxins from various parts of the body. Entering this part of the spa, you find this giant marble statue greeting you upon entry. While this is a replica, the original icon which it is based on, ‘Winged Victory of Samothrace,’ is on display at the Louvre. She was a relic of the 2nd century BC and was thought to once belong on a Roman ship’s prow. Her connection to the water is why perhaps she feels very appropriate situated here.

Hydrotherapy Pools

There were two warm pools in this room. One was a Hydrotherapy pool that used jacuzzi jets. Inside were these long underwater lounge chairs that you lay on while the warm waters whipped around below. The hydrotherapy water supports your weight, which helps relieve pain and relax your muscles.

The water was much warmer in the pool nearby, but there were no jets, so you could simply sink right in and indulge in the almost steaming waters. I love a warm bath, so this perhaps was my favourite of the heated pools.

Cold Pool

Right beside the warm waters are two narrow pools with a set of stairs that descend into them. Be warned, this water is COLD! And I mean almost freezing. A cold pool dip is another traditional Nordic treatment. Historically, Scandinavians would sit in hot saunas, dug out of the earth, and then jump into the frozen lakes’ cold waters. This hot-cold-circuit is now something you’ll see in almost every modern-day spa. To complete a traditional circuit, you bath in hot water and then take a cold plunge. This is then followed up with stepping into a steam bath or sauna to bring the body back to its natural state. Then repeat.

How to Use A Cool Water Pool

The cold water pool here is pretty easy to use. Instead of dunking yourself in cold water, which is pretty intimidating, you simply walk down the stairs, which naturally dips your body in and out of the cold water. It still requires a bit of bravery but trust me, it really does make you feel amazing, and you’ll be proud you tried it!

The Circuit

Many people say you should complete the circuit of hot-cold-hot three times during your visit to get all the benefits of the Nordic waters. There is something almost meditative about focusing on this cycle. It requires you to step away from daily life’s stress and do nothing but relax and focus on your body. There are several lounge chairs to relax on here but if you wish to move on, step through the doors in this room towards the sauna area.

Saunas 

As you head into the spa’s Sauna area, men and women are sent through a separate set of doors where they must take off their bathing suits and cleanse in the shower. You leave your bathing suits in the change room and enter the sauna area with only your robe or towel.

Nordic Sauna

Centralbadet features over seven different saunas to relax inside. Each one is a little bit different, and I’d advise trying them all. Even if you think you don’t like saunas very much, you might find one that is more to your liking and a bit cooler than others you might have experienced before. The Nordic sauna is the most traditional, the mixture of dry, hot air helps sweat out all those toxins. They recommend you sit inside anywhere from 5 to 15-minutes, depending on how much you like the heat! But remember, never push yourself!

Singing Dunes

The Singing Dunes sauna features a low-pitched song that plays throughout the room. Sitting inside you’ll feel a gentle dessert breeze sweep across your body. In the centre of the room is a massive piece of salt, lit from below, which creates the most mesmerizing glowing effect. The ionized salt therapy it provides is thought to help with anxiety and insomnia. They recommend humming along to the song and meditating inward to help find inner peace and increase relaxation.

Aromatherapy

My favourite was the herbal and aromatherapy sauna, called the Kristall sauna. When you walk inside, the first thing you see is this huge piece of amethyst, and I mean HUGE. It was almost as big as I was! Here, you’ll find scents of fresh thyme, rosemary, mint and orange peel fill your nostrils. These herbs have been placed into the air via the steam inside the room. The smell was intoxicating, and I loved just sitting here and clearing my sinuses. 

When sitting in the saunas, I would recommend you just close your eyes and listen to the sounds in the room, the soothing music which lulls your mind away from stress.

Infrared Sauna 

The most comfortable sauna is sure the infrared as its the lowest temperature, almost just room temperature. There are lounge chairs inside this rather small room where you can sit and chat, as this room has a more casual atmosphere. Some people say they can experience positive effects in just 10-minutes from infrared light. Still, others sit here for almost an hour to bask in the relaxing energy waves. Infrared saunas are thought to help with collagen stimulation, skin brightness, and improved heart and vessel condition. So why not?!

Steam Bath

The steam bath is one of the most unique rooms. I’ve done steam rooms before, but never one this steamy! You can barely make out the white tiled floors for the thick steam all around you. The temperature is only about 45 degrees, but with 100% humidity, it can feel a lot warmer. Sitting down inside, it almost feels like it’s raining, the most gently drizzle, a genuinely ethereal experience. I usually can only stand a few minutes in the steam room but here with the lower temperature, I found myself meditating here for much longer.

Roof terrace

After completing a few rounds of the circuit, I wandered around the complex a bit more. This place is so vast, and when walking around certain areas, you felt like you might be going somewhere, you weren’t meant to be. Throughout my explorations, I discovered the barbershop, gym and even an artist’s residence office! But I was trying to locate the Roof Terrace! I finally made my way to the spiralling staircase, which led to the roof. Despite it being the dead of winter, the door to the outside was open, and I could peek my head out there. It was freezing, but the view was incredible! This place would be amazing to sit out on during the spring and summertime, and even in the freezing cold, I still soaked in the view. Then I immediately ran off back downstairs to jump back in the warm pool!

The Eco-bar

The eco-bar located inside the spa is like dining inside a rainforest. The indoor restaurant features lush greenery and light therapy illuminations above you. These bright therapy lights are meant to aid with depression some people feel during the darker winter months. Otherwise known as ‘SAD’ or seasonal affective disorder. You can hop from the waters into the restaurant without taking off your robe and dine in pure comfort. There are different locations where you can eat throughout the spa, some which offer only cafe like drinks and snack and other areas which serve up entire meals.

Food & Drink

The food is all organic and rich with nutrients, perfect for that revitalizing experience. You can also have wine, champagne or smaple some of their non-alcoholic beers. But for me, it’s always a cup of coffee and a dessert which calls my name! While the meals aren’t super cheap, they aren’t going to break the bank either, and honestly, I say go for it as eating here really adds to the entire experience.

My experience at Centralbadet was unmatched! It was one of the best spa experiences I’ve ever had, and I wished I had been able to stay longer. I’ve read mixed reviews about this place and was interested in seeing it for myself. While it might not be the cheapest spa or sauna, it is also one of the largest and offers more options and amenities than any other.

Most people seem to complain about the price, so I hope this post really helps you understand all the different things you can do inside, which comes with entry. I didn’t have time for a massage or spa treatment, and I still was there for hours and hours. I went out of there feeling beyond relaxed, and as a traveller, you can get really run down exploring a new city. And this was precisely what I needed to recharge and relax! I would recommend it to everyone visiting Stockholm for the first, second or really anytime!

Let me know if you’ve experienced a Nordic spa before and what your favourite part was!

Happy Travels, Adventurers!

The post Everything You Need to Know Before Visiting Centralbadet Stockholm first appeared on The Creative Adventurer.

]]> https://thecreativeadventurer.com/everything-you-need-to-know-before-visiting-centralbadet-a-unique-relaxing-escape-in-stockholm/feed/ 0 17330 13 Most Instagrammable Spots You Need to Visit in Barcelona https://thecreativeadventurer.com/13-most-instagrammable-spots-you-need-to-visit-in-barcelona/?utm_source=rss&utm_medium=rss&utm_campaign=13-most-instagrammable-spots-you-need-to-visit-in-barcelona https://thecreativeadventurer.com/13-most-instagrammable-spots-you-need-to-visit-in-barcelona/#respond Fri, 28 Jun 2019 15:28:02 +0000 https://thecreativeadventurer.com//?p=1440 Unless you’ve been living under a rock for the last few years, chances are that you’ve...

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]]> Unless you’ve been living under a rock for the last few years, chances are that you’ve heard all about the wonders of Barcelona. With so many picturesque spots and quirky boutiques littering the streets, this seaside city is a drool-worthy destination. Perfect for just about anyone looking to escape their everyday life. Look past the hoards of tourists and you’ll find the most colourful, vibrant and artful city in the world. If you’re only in town for a short period of time or just want to find the most Instagram-worthy spots that will make your friends jealous, then this Barcelona Instagram Guide is for you!

#1 Sagrada Familia

Gaudí’s Sagrada Familia is one of the most well-known churches from anywhere in the world, despite the fact that it hasn’t even been completed! The enormous structure is much more than just an interesting building; it’s a symbol for this city. This church was designed by artist and architect Antoni Gaudi. Gaudi’s work can be seen all across the city, but the Sagrada Familia is his piece-de-resistance. Even if you don’t know anything about the artist, or architecture in general, this stupendous church is awe-inspiring to anyone who lays eyes on it. Seeing it in person is an unforgettable experience. The building features whimsical spires reaching towards the sky, ornate stonework, and the most stained glass windows in all of Barcelona.

While the exterior of the church is impressive on its own, when you step inside, some of the interior’s most famous features reveal themselves, like opening a jewellery box. The forest-inspired columns climb like vines up to the ceiling, capped by a star-like vault. You can spend a few jaw-dropping hours just wandering around this church, finding a million different places to get gorgeous photographs. It’s truly a dream for anyone who loves a visually stunning interior.

#2 Hospital de Sant Pau

 Finding those hidden gems is getting harder and harder, but there are still a few real treasures out there. One of those places is the Hospital Sant Pau Barcelona or the Hospital of the Holy Cross and Saint Paul. You might be thinking, “A hospital you say? That doesn’t sound too exciting.” Well, this is a hospital unlike any other and nothing like you’ve ever seen before. The Hospital is no longer in use but has been transformed into a tourist destination. This is called the Sant Pau Modernista Precinct. The building has been classified as a World Heritage Site. The reason? This is one of the best examples of Barcelona’s incredible Art Nouveau or Modernisme movement in the city.

There is truly something spectacular to see around every corner. From fantastical stained glass, vibrant ceramic roofs, incredible mosaics and beautifully designed interiors, there are dozens and dozens of places in here to find amazing photographic opportunities. If you’re interested in a complete guided tour of the hospital check out my in-depth blog post!

#3 Park Guell

Park Guell is one of the most beautiful places in the world, and in Barcelona. Designed by the famous architect Antoni Gaudi, the park is made up of some of his most famous works. Including the incredible mosaic-tiled dragon. The park covers 31,500 square meters, crisscrossed with paths filled with Gaudi’s signature sculptures. It is one of the few places in Barcelona where you can really get a sense of Gaudi’s style. But, in the open air.

Park Guell was built as a private residence for Eusebi Guell. However, before he could finish it, he ran out of money and abandoned the project. Luckily the city council bought the land, and it was opened to the public in 1926. Since then, it has always been a popular attraction for both tourists and locals alike.

4. Church of the Sacred Heart of Jesus

The Church of Sacred Heart on Mount Tibidabo is located on the top of one of the tallest peaks in Barcelona. It provides visitors with some of the best views across the city and surrounding countryside. In addition to the incredible locations is the giant statue of Jesus, which can be seen from most of the town, adding to this church’s infamous nature. The nearby Tibidabo Amusement Park is the oldest theme park in Spain and the second oldest in Europe. It is also worth a visit on your trip up the mountain. Whether you’re a fan of the church or the amusement park, this is one of the top must-see places in Barcelona if you’re a tourist.

#5 Casa Batlló 

Few venues in Barcelona encapsulate the city’s fascinating mix of influences better than Casa Batlló. This building is an icon, and its grand exterior, slick style, and intricate stonework gracefully illustrate Barcelona’s Art Nouveau style. The façade of this building is decorated with incredibly detailed and colourful ceramic tiling. The building is an absolute photographic masterpiece, with so many details to capture and a background that screams modernism! Casa Batlló is considered one of Gaudí’s best works due to its imaginative design and inventive functionality. It is one not to be missed when in Barcelona and, best of all, can be admired from the outside without having to enter or pay admission to admire the facade’s incredible beauty.

#6 Arc de Triomf de Barcelona

Arc de Triomf de Barcelona is an enormous triumphal arch built by Josep Vilaseca i Casanovas in 1888 for Barcelona World Fair. Back then, the gate served as the main access gate into the city. Today serves as the entrance to the great Ciutadella Park that now occupies the site of the world fair. The design of the arch is made in Neo-Mudéjar style, best known for its abstract-shaped geometric brick ornamentation. Standing in the center of the arch is the perfect photo opt for your trip to Barcelona.

#7 Parc de la Ciutadella

Parc de la Ciutadella is a large public park on the northeastern edge of the Barceloneta district. The enormous park spread out like a horseshoe over an area of 16 hectares. Spread across the park, there is a zoo, the Palace of the Parliament, a library, a few museums, and best of all, the Cascada.

The Cascada (waterfall or cascade in Spanish) was designed by Josep Fontsére and Antoni Gaudí in 1881 for Barcelona’s World Fair. The fountain was the park’s crowning glory and was meant to resemble the great Trevi Fountain in Rome. But the Trevi fountain can only be viewed, where this fountain can be explored along the path and stairways which lead around the structure. So many fantastic photo opportunities to be had along the way.

#8 Palau de la Música Catalana

The Palau de la Música Catalana is undoubtedly one of the world’s best-preserved and most ornate music halls. The Palau de la Música Catalana was built in 1905 for the Orfeó Català (Catalan Choral Society). It was this choral society that was also a leading force in the Catalan cultural movement. The Catalan style of architecture called ‘modernism’ was developed to support a new Catalan identity and closely resembles the art nouveau style.

The Palau de la Musica Catalana is such an important piece of the history of modernism, and a symbol of Catalan nationalist pride. It was made a World Heritage Site by UNESCO in 1997. Whether you have the chance to tour the interiors or just have time to view the outside, this place is a must-visit for any traveller to Barcelona. While the interiors are truly spectacular, the floral motifs and colour mosaic tiles stretch onto the exterior as well so everyone can see a slice of this fantastical concert hall.

#9 Barcelona Cathedral

While La Sagrada Familia is a modernist miracle, the Barcelona Cathedral is a gothic gem and truly a treasure unto itself and worth exploring in its entirety. Gaudi himself was inspired by this historic church upon designing La Sagrada Familia. Looking at this ornate neo-gothic facade, simply dripping in decorations, it is such a fantastic place to grab that photo op. This church really represents the overall iconic look of Barcelona’s famous gothic quarter.

10. Plaça Reial

Plaça Reial is located in the Gothic Quarter. It is a large public square built on the ruins of the Capuchin convent of Santa Madrona. The Convent was demolished in 1836 and transformed into this magnificent square in the 19th century. There is something about the yellow facades, cool fountains and bright green palm trees that feel quintessentially Catalonia. Interesting to know that the lampposts surrounding the square were actually designed by Antoni Gaudí.

#11 La Casa Padua

Hidden away in the northern neighbourhood of Gracia is this spectacular gem, La Casa Padua, or the ‘Red House.’ Although the background of the house is actually green, the iconic art nouveau floral motifs which swell and dance around the facade are all painted in bright red. The house was made by Catalan modernist architect Jeroni Granell i Manresa. Manresa designed the stained glass windows found inside the Palau de la Música Catalana and the Hospital Sant Pau Art Nouveau Site. The building the headquarters of a perfume factory until the 1970s. This seems almost too fitting as the facade feels almost like a parody or Disneyland versions of a Perfumerie! Standing in the doorway, you are absolutely transported to another time and place and makes for stunning photography.

#12 Palau Güell

Palau Güell is a Modernista palace! It was designed by Antoni Gaudí for businessman Eusebi Güell (the same man who funded the building of Park Guell.) The house is located just steps from the massively touristy Las Ramblas street in the El Raval neighbourhood. The building is a construction of the ideals of Art Nouveau. This involves organic forms, asymmetry, fantastic ornamentation and a romantic vision of nature.

Every single room in the interior is a photographer’s dream. But the real show stopper comes on the roof where Gaudi’s iconic chimney with rightly colour ceramic tiles stands in front of the stunning views across Barcelona.

#12 Boqueria Market

La Boqueria Market is arguably one of the most famous food markets in all of Europe. It’s renowned for its food and especially for its seafood sellers, and it draws a lot of tourists every day. The market has been open since 1840. And over the years, it has become more than just a place to buy groceries. It’s a beautiful place to walk around and enjoy a peaceful morning or afternoon. Personally, I love market photographs. There is something about those bright-coloured fruits and veggies and the bustling atmosphere that feel so fabulously metropolitan and chic.

#13 Casa Vicens

Casa Vicens is my favourite of all of Gaudi’s houses in Barcelona. It was only recently opened up a museum for the public to explore! Located in the neighbourhood of Gràcia Casa Vicens was the first house designed by Gaudí. Perhaps because it was his first house, it feels the most experimental and youthful! In addition to the Art Nouveau styles of the time, Gaudi was inspired by Neo-Mudéjar architecture. Neo-Mudéjar is a type of Moorish Revival architecture that uses style elements such as horseshoe arches, arabesque tiling, and abstract-shaped brick ornamentations. All of which can be seen most prominently on the facade of the Casa Vicens.

This building represents the start of a new chapter in the history of architecture. In addition to being a gorgeous photographic backdrop, it is also such an essential piece of Barcelona’s iconagraphy.

While these are my favourite spots to visit, Barcelona is an absolute kaleidoscope of visual treasures. And there are wonderful sights to see around every corner! Let me know in the comments where your favourite spot in the city is!

Happy Travels, Adventurers!

The post 13 Most Instagrammable Spots You Need to Visit in Barcelona first appeared on The Creative Adventurer.

]]> https://thecreativeadventurer.com/13-most-instagrammable-spots-you-need-to-visit-in-barcelona/feed/ 0 1440 Free Downtown Los Angeles Walking Tour of the Amazing Art Deco Streets https://thecreativeadventurer.com/self-guided-architectural-walking-tour-of-downtown-los-angeles-the-beautiful-hidden-art-deco-streets-of-california/?utm_source=rss&utm_medium=rss&utm_campaign=self-guided-architectural-walking-tour-of-downtown-los-angeles-the-beautiful-hidden-art-deco-streets-of-california https://thecreativeadventurer.com/self-guided-architectural-walking-tour-of-downtown-los-angeles-the-beautiful-hidden-art-deco-streets-of-california/#respond Mon, 17 Dec 2018 15:42:08 +0000 https://thecreativeadventurer.com//self-guided-architectural-walking-tour-of-downtown-los-angeles-the-beautiful-hidden-art-deco-streets-of-california/ While in California, we took a brief tour of LA's historic downtown district. We were in town to see July Talk and decided to take the opportunity of being in downtown LA to see all the wonderful architecture that far too often, gets overlooked by beachy keen tourists.

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]]> So many people only think of California as a state of beautiful beaches and equally as beautiful people. People rarely associate architecture with Los Angeles, but L.A.’s historic downtown district is full of some of the most incredible buildings in the U.S. Compared to cities like Rome or even New York, L.A.’s historic core is one of the least frequented parts of the city. And perhaps that is because so few people even know it is here. After the economic decline in the 1960s, downtown suffered a sizeable financial recession that lasted for decades, and it is now seeing a new cultural renaissance.

Table Of Contents
  1. Angel's Flight
  2. Grand Central Market
  3. Bradbury Building
  4. Alexandria Hotel
  5. Broadway-Spring Arcade Building
  6. Ninth and Broadway Building
  7. The Jewelry District
  8. PacMutual
  9. Los Angeles Library
  10. Fine Arts Building
  11. Theatre District
  12. The Los Angeles Theatre
  13. The Palace Theatre
  14. Tower Theatre
  15. Eastern Columbia Lofts
  16. Ace Hotel

Angel’s Flight

Start your walking tour at the ‘Angel’s Flight’ steps on Bunker Hill. This funicular railway brings travellers up the hill to one of the most iconic landmarks in L.A., Most notable for the many scenes filmed for the movie 500 Days of Summer.

The funicular was nicknamed “the shortest railway in the world” when it was built in 1901, and ever since, it has brought passengers a mere few meters up the steep hill from Pershing Square Metro Station to the top of Bunker Hill. From there, you have the perfect vantage point to see the tops of all the famous buildings that decorate the Los Angeles skyline.

Grand Central Market

After a short walk down from the top of Bunker Hill, stop at the Grand Central Market. The original building was a Beaux Arts beauty, but over the years, modern renovations have since changed its appearance. When you visit the market, make a point to study the 1960s tile façade and the original large, rounded archways at the entrance.

Eggslut

This little market, full of smells, sights and sounds, has been open since 1917. The market was once a meeting place for the city’s rich and the poor, and you could find everything from clothes to cabbage to goods for the home. Today, it is filled with delicious food for the everyman. As you step down the stairs in the thick of things, your senses are engulfed in the smell of slow-roasting pork, crispy tortillas and hot spices. Stop in at G&B Coffee for a dark brew, or try one of their fizzy hoppy teas for something different. Chow down on gorditas and drool-worthy tacos at Ana Maria’s. And if you’re looking for a trendy Sunday morning brunch spot, try Eggslut for their signature Eggslut sandwich, a jar-poached “coddled” egg atop potato purée.

Bradbury Building

The Bradbury Building is one of the most important architectural landmarks of the city. And while its exterior is gorgeous, it’s the interior you’ll want to ensure you see! Built in 1893, this office building is best known for the incredible skylit atrium, surrounded by gilded, ornate ironwork walkways, stairs and elevators. The building was made for gold-mining millionaire Lewis L. Bradbury and, as such, feels like it has been kissed by King Midas himself.

Alexandria Hotel

Wind your way toward the famous Alexandria Hotel. In the heyday of cinema-making of the 1900s, this monolith of Beaux-Arts architecture and glamour was built. It cost $2 million to bring the lavish designs and finishing that the New York elite was used to across the country to sunny L.A. The building’s signature griffins still stand today, looming over the street, watching passersby going about their business.

Over the years, it saw visitors from all walks of fame. From President Theodore Roosevelt to Charlie Chaplin and even Mary Pickford. But as the celebs moved out of the downtown core, the hotel lost its lustre and soon was nothing more than squatting quarters for vagrants. Now, it has a new owner, and with fresh businesses coming back downtown, it might even see a new renaissance. Its illustrious Palm Court, built in the 1960s, is still one of the most awe-inspiring interiors in L.A. The ceiling is an enormous mass of intricately designed stained glass and walking in the room, you completely feel embraced by the beautiful coloured scene painted with glass above you.

Broadway-Spring Arcade Building

As you walk down South Spring Street, you come upon a giant slate-coloured building with tiny, uniform windows that cover its facade. Looking like a massive brick honeycomb. This is, of course, the Broadway-Spring Arcade Building. The building is connected by a stunning skylit and a three-storey arcade.

Walking through the arches, you’re met with a splendid gallery of little, independent shops gathered below retro lights that line the gallery like little soldiers. Later on, after its initial construction, two Venetian-style bridges were added to connect the lower levels of the two buildings, creating a very European feel to space.

Ninth and Broadway Building

Just down the street, you find the Ninth and Broadway Building. Built in the 1930s, this sturdy building is a dramatic design and architecture. The most iconic detail is the two-storey tall terra cotta grapevine filigree that crawls up the front of the building. The art deco lettering that addresses the building is a charming nod to a time gone by.

But the ornamentation doesn’t stop at the front of the building. As you look up at the myriad of floors above, you’ll notice the filigree grapevine designs continuing between all the perfectly placed windows, each stamped with an abstract art deco geometric design.

The Jewelry District

The Jewelry District is a section of downtown Los Angeles where gold, diamonds and anything sparkly can be seen on display in highly curated window boxes. As you walk down the street, it seems like every other shop is a jewelry store with identical window displays and signage. Annually this district brings in just under $3 billion in jewelry alone!

The most famous of these Jewellery retail outlets is the International Jewelry Centre. This building reminds me of the train station in Melbourne, with its enormous domed roof and French Renaissance-inspired ornamentation that climbs along the columns and frames the windows.

PacMutual

Head over to the financial district and visit the PacMutual building. A set of three different buildings have been connected over the years and now make up the place we call the PacMutual building. Each structure represents a different period of architecture, yet they all seem to flow together cohesively. The first building erected in 1906 was on the corner of Sixth and Olive Street. It was designed in the Beaux Arts style with decorative arches and flowery details.

In 1921, a taller building was constructed the same way as the previous one. With more money in their pockets this time, they added Italian marble throughout the lobby and more terra cotta embellishments. The final building in this triad is a seemingly simple two-story parking garage. Where the addition of a parking lot might have been an eye sore, this architect took it upon himself to disguise it in Beaux Arts flourishes and a glamorous tiled roof.

Los Angeles Library

The last stop on tour was at the impressive Los Angeles Library. A stop-off at the library might seem like an anti-climactic visit, but it is not the case here in L.A. The library was officially named a Historic-Cultural Monument, and its importance as a place for the community is firmly evident as you walk around and watch people interact with the public space. People wander the gardens and sit quietly reading or talking on the phone on all the different benches and seating areas in the courtyard. It seems almost like a modern-day town square.

The library’s design is not of the Art Deco period or the Beaux Arts. This time, the architect went far back to get his inspiration. All the way to ancient Egypt. Egyptians were some of the finest architects. But they were a culture that respected and sought to preserve their language and historical stories.

Although not in a typical “library”, they preserved their stores right in the walls of their home in hieroglyphs. So it is no surprise that this is where the architect drew his inspiration for the library. The central part of the library looks like a squared-off pyramid with brightly coloured tiled mosaics on the roof. The suns on either side of the roof reference the “light of learning.” Along the facade are carved notable men of history. We have represented men from the arts, Science, Philosophy and more here.

Fine Arts Building

The Fine Arts Building on West 7th Street was built in 1926 and is a love story of architecture. The Romanesque Revival face featured a two-storey arch over the main entrance, intricately decorated with griffons, gargoyles and birds. The entire building is replete with ornamentation and carved figures, to the point where it feels almost more like a church than an office building. On either side of the entry arch are two reclining figures, representing Architecture and Sculpture as human beings. Be sure to step inside and admire the two-storey terracotta and tile-tiered ceiling.

Theatre District

As you finish with the business district, you turn a corner, and suddenly every other building you come across is an opulent theatre. This, of course, is the Theatre District. These gaudy and gorgeous edifices are aged to pure perfection. Their slightly tarnished and dirty facade only adds to the magical historical quality they preserve within their bones.

The Los Angeles Theatre

The Los Angeles Theatre is no doubt the most extravagant of them all. Designed by legendary theatre architect S. Charles Lee in 1931, this building stretches into the skies with European-inspired designs that make you feel like you have been transported into Paris, France. The baroque columns and sculptures that pour off the building reek of French finery. Even a sunburst motif is used throughout, inspired by Louis XIV’s castle of Versailles.

The Palace Theatre

The Palace Theatre is one of the oldest on the strip. It opened in 1911 and is one of the remaining original Orpheum theatres in the U.S. This building seems as though any minute, swarms of youthful flappers in sequined gowns might emerge from its doors. Perfectly preserved in time, you can even read the old painted advertisements still etched onto the side of the building. One can imagine that these ads would entice customers to attend the shows featuring such acts as Harry Houdini, Fred Astaire, and a young Rita Hayworth.

The mixture of Florentine architecture and retro 70’s typography, and colourful flare are wonderfully combined on the front of this theatre. Multicoloured terracotta flowers are stamped on the sides of the window frames, while gothic fairy sculptures hang off the building like whimsical gargoyles. Even the old lamps still glow and are reflected on the wet streets.

Tower Theatre

Built in 1927, the Tower Theatre is a testament to the evocative Baroque Revival style. The theatre’s exterior was even modelled after the famed Paris Opera House. Tiny star-shaped geometric designs are carved into the building’s walls, making the whole thing seem like it is floating in space. One of the Tower Theatre’s most iconic features is its giant Art Nouveau clock tower that reaches into the sky, flanked by gilded columns and framing the neon sign that flashes its name to curious passersby.

Eastern Columbia Lofts

Probably the piece-de-resistance of the entirety of downtown L.A. is the Eastern Columbia Lofts. From all the way down the street, you can see the bright, turquoise copper gleaming in the distance. On top, a giant clock and the word ‘EASTERN’ all in neon beacons you towards it. The Eastern Columbia Lofts is one of the best examples of true Art Deco architecture in the United States. Featuring all the keystones of Art Deco design, this building seems cohesive while incorporating various elements from that period. From sunburst patterns to zigzags and chevrons to simple geometric shapes and turquoise copper panels flanked in gold, every piece feels like it complements the other.

Although the building has been standing for years, its appeal is timeless. The developer, Kor Realty Group, optioned this property for condo development in 2006 and has since turned empty retail and business spaces into chic, modern condos while retaining their original appearance. One of the more curious features is the four modernized flying buttresses that flank the clock tower on the top of the building. This style, once only found in gothic architecture, was appropriated to great effect.

Ace Hotel

If you’re looking for true gothic architecture, go beyond the Ace Hotel. Originally known as the United Artists building, at 13 stories tall, it was the tallest building in Los Angeles after its completion in 1927. The building houses residential apartments and a theatre on the first floor. The terra cotta and plaster-fronted structure were dripping with Gothic influences from Spain and were inspired by the Segovia Cathedral. Its delicate tracery windows pointed arches, and highly detailed carved capitals make this building look more like a church than a commercial space. The stone spandrels that line the facade give the building the appearance of being taller than it really is, lifting its grandeur right up into the sky.

Taking a free walking tour of the Art Deco streets of downtown Los Angeles is a must-do experience for anyone who loves architecture and history. From the stunning facades to the intricate details, these buildings are a testament to the city’s rich cultural heritage.

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