Alphonse Maria Mucha is born on the 24 July in Ivančice, a South Moravian town under Austrian administration. 

His father, Andreas Mucha, is a court usher, and his mother, Amalie (née Mala) a governess in Vienna.

Mucha has two half-sisters from his father’s previous marriage, and is soon joined by two younger sisters, Anna and Angela.

On 3 July, the Prussian army defeats the Austrian army at the Battle of Königgrätz (present day Sadová in the Hradec Králové Region). This battle, conducted around 160km from Ivančice, proves to be the decisive battle of the Austro-Prussian War. It involves the largest number of soldiers in Europe to that day and ends with nearly 9,000 Prussians and over 44,000 Austrians killed, wounded or missing.

While under German occupation, a cholera epidemic breaks out in Ivančice which only adds to the large numbers of casualties.

Young Mucha looks on in horror as emaciated bodies are thrown into common graves outside the town.

Aged 12, Mucha is given a choral scholarship from the Petrov church to board at the Gymnázium Slovanské secondary school in Brno.

Here he meets the deputy choirmaster and future composer Leoš Janáček (1854-1928).

Mucha is expelled from school due to his poor academic performance.

On his way back to Ivančice, where his father has secured him a job as a clerk at the town courtroom, Mucha visits a friend in Ústí nad Orlicí.

In a local church, possibly St Wenceslas in Letohrad, he comes across a fresco in the Czech Baroque tradition painted by local artist Jan Umlauf (1825-1916). He is so taken by the work, and the realisation that artists of his own time are able to earn a living through painting, that he resolves to become a professional artist.

Following an unsuccessful application to Prague Academy of Art, Mucha continues his administrative job while becoming increasingly involved in decorative design work for local magazines and theatres.

At the age of 19, Mucha makes a successful application to become an apprentice scenery painter at Vienna’s Kautsky-Brioschi-Burghardt theatre design company.

While in Vienna, he enrolls in evening art classes and visits a number of galleries and contemporary art exhibitions. He becomes particularly interested in the work of the Austrian artist Hans Makart (1840-1884).

A major fire destroys Vienna’s Ring Theatre killing nearly 400 people. As one of Kautsky-Brioschi-Burghardt’s most important clients, this results in a serious financial loss for the company, and several members of staff, including Mucha, are dismissed.

Mucha leaves Vienna for Mikulov, a small town in South Moravia. Here he begins painting portraits of local society figures.

While in Mikulov, his work comes to the attention of local landowner Count Karl Khuen-Belasi who commissions him to paint a decorative scheme in his main residence, Emmahof Castle. He is subsequently commissioned to complete a second scheme for the Count’s brother Egon at Gandegg Castle in Tyrol. These are Mucha’s first major commissions and lay foundations for his later large-scale projects such as the Bosnia-Herzegovina Pavilion for the 1900 Paris Exhibition.

With the Count’s financial support, Mucha is able to receive formal art training in Munich and Paris. He accompanies Mucha to Italy where they visit Venice, Florence, Bologna and Milan.

Mucha wrote later that the Count was a 'great moral authority' for him.

With financial support from Count Khuen-Belasi, Mucha joins Munich’s Akademie der Bildenden Künste (Academy of Art) where he remains for two years. Munich is an important centre of painting and visual art at the time, and the Academy is second in international importance only to the academies of Paris and Dusseldorf.

At the Academy he meets fellow Czech students Karel Mašek and Luděk Marold, and the Russian painters David Widhopff and Leonid Pasternak.

While in Munich, Mucha becomes an active member, and subsequently chairman, of the newly-formed Škréta spolek (the Škréta Group), a community of Central and Eastern European art students living in Munich.

Through family contacts, Mucha receives a commission to paint an altarpiece for the church of St John of Nepomuk in the small Czech community of Pisek in North Dakota. The altarpiece represents Saints Cyril and Methodius, two of the Czechs’ best-loved saints.

In the Autumn, Mucha sets off for Paris with his painter friend Karel Mašek. 

With tuition fees and living expenses paid by Count Karl Khuen-Belasi, Mucha joins the Académie Julian where he studies under the academic painters Lefèbvre, Boulanger and Laurens. Founded by Rodolphe Julian in 1877, the Académie Julian offers students an academic training in drawing and painting through life classes with a nude model. It is popular with both French and foreign students, and is one of the rare schools to admit women.

While Mucha is there, a group of young painters called the Nabis forms around fellow student Paul Sérusier. The Nabis believe that art stands on an equal footing with design, and they work with designers and publishers to produce set designs, wallpaper, textiles, ceramics and stained glass.

Mucha joins the Académie Colarossi and moves into lodgings at no. 1 rue Bara in the Latin Quarter.

The Académie Colarossi is founded by the Italian sculptor Filippo Colarossi. Located at 10 rue de la Grande-Chaumière, just a few streets away from Mucha’s lodgings, the Colarossi, like the Académie Julian, provides students with an alternative to the conservative education of the École des Beaux Arts.

Mucha is forced to leave the Académie Colarossi when Count Khuen-Belasi’s sponsorship suddenly ceases.

In need of an income, he secures a number of commissions to produce illustrations for French and Czech publishers.

Through the Polish painter Władysław Ślewiński, Mucha is introduced to Madame Charlotte Caron's Crémerie, a café directly opposite the Académie Colorossi where hard-up students are able to eat on credit and pay with their paintings.

The same year, Mucha moves into a room above the café at 13 rue de la Grande Chaumière.

Over the years, the Crémerie is frequented by numerous artists, musicians, composers and writers, including Paul Sérusier, Paul Gauguin, the Polish artist Stanisław Wyspiański and the Swedish dramatist and writer August Strindberg.

Mucha becomes a regular contributor to Le Costume au théâtre et à la ville, a magazine published by Lemercier featuring drawings of theatre costumes. It is here that he produces his first drawing of Sarah Bernhardt as Cleopatra.

Mucha is taken on as an illustrator for the Paris-based publisher Armand Colin.

Founded in 1870, Armand Colin was one of the first publishers to produce high quality school manuals just as primary education became mandatory in France.

Over the years, commissions include Charles Seignobos’s Scènes et Episodes de l’Histoire d’Allemagne, in collaboration with Georges Rochegrosse, and Scènes et Episodes de l’Histoire d’Espagne (unrealised).

Mucha begins giving drawing lessons in his studio. These classes, which become known as ‘Cours Mucha’, are so successful that he is later asked to teach at the Académie Colarossi. From 1898, he also runs a drawing course at James McNeill Whistler’s Académie Carmen. 

Mucha exhibits, for the first time, at the Paris Salon held at the Palais des Champs Elysées.

He receives a ‘mention honorable’ for a selection of works illustrating Xavier Marmier’s Les Contes des Grand-Mères (1892).

Having met Paul Gauguin during his brief stay at Madame Charlotte’s in 1891, Mucha invites him to share his new studio at No.8, rue de la Grande Chaumière following Gauguin’s two year trip to Polynesia.

While at the rue de la Grande Chaumière, Gauguin prepares for his exhibition at the Galerie Durand-Ruel.

Having tried his hand at photography on a borrowed camera while living in Vienna, Mucha decides to buy a 10 x 13 cm rectangular-format camera.

From this point on, photography becomes an essential part of his life, both in preparing his compositions, and as a support in its own right.

Over a period of two years, the Swedish dramatist and writer August Strindberg frequents Madame Charlotte’s Crémerie.

Through Strindberg, Mucha is introduced to Mysticism and Occultism, which are to have a great impact on his life and work.

Mucha is commissioned by the publisher Lemercier to design a special Christmas and New Year supplement for Le Gaulois magazine, including a feature on Sarah Bernhardt’s portrayal of Gismonda at the Théâtre de la Renaissance.

Mucha’s Gismonda poster is featured on hoardings across the city from on 1 January and creates a sensation.

Sarah Bernhardt signs a six year contract with Mucha who is responsible for designing posters, stage sets and costumes for Paris’ leading actress. 

Mucha meets the Lumière brothers and participates in their cinematographic experiments, including a study of plant movements.

As public institutions begin to lose their monopoly on the arts, independent groups of artists are looking for ways to promote and circulate their work. Created in 1889 by the writer Léon Deschamps, La Plume is a monthly publication which features poems, short stories, exhibition reviews and illustrations by avant-garde artists. It counts Bonnard, Grasset, Toulouse-Lautrec and Ensor among its contributors.

The magazine also organises regular exhibitions, known as the Salon des Cent, at its premises. Mucha is invited to contribute to La Plume and to design a poster for the 20th Salon des Cent.

Both La Plume and the Salon des Cent are instrumental in promoting the poster as a medium in its own right.

Mucha is taken on by the Imprimerie Champenois, one of the most important printers of the period 1880-1910.

The most expensive editions are printed on satin, vellum or Japanese paper, but clients can also order more affordable posters printed in eight colours or on card.

Mucha moves to a studio at No.6, rue du Val-de-Grâce. The studio benefits from a large window and a glass ceiling, and this extra light improves conditions not only for painting, but also for photography. As a result, Mucha’s photographic output increases significantly.

The sculptor August Seysses has a studio in the same building, and it is after meeting Seysses that Mucha begins to experiment with sculpture and pastel.

In response to the popularity of his posters, the Imprimerie Champenois introduces Mucha’s work on a variety of supports, including decorative panels, calendars, postcards, theatre programs and menus.

The printing firm also licenses Mucha’s designs and illustrations to companies and publications throughout Europe and North America.

Mucha holds his first solo exhibition at the Galerie de la Bodinière, 18 rue St Lazare.

107 works are included in the show, and the preface to the exhibition catalogue is written by Sarah Bernhardt.

Mucha is invited to hold a solo exhibition, featuring 448 works, at the Salon des Cent.

The exhibition is held at the premises of La Plume, 31 rue Bonaparte in the 6th arrondissement.

To mark the occasion, La Plume dedicates a special issue to the exhibition.

Over the next two years, Mucha’s work is exhibited in Vienna, Prague, Budapest, Munich, Brussels, London, New York and many other cities.

Mucha becomes an apprentice member of the Paris Lodge of Freemasons.

The Austro-Hungarian government commissions Mucha to produce decorations for the Exposition Universelle to be held in Paris in 1900.

In preparation for this work, the Austrian government sponsors Mucha to travel through the Balkans. It is while on this trip that the idea of the Slav Epic is born.

Georges Fouquet is the son of one of Paris' most successful jewellers, Alphonse Fouquet. In 1895, he takes the reins of the family business and sets about exploring new and inventive forms of expression in jewellery.

For the 1900 exhibition, Fouquet is determined to create a truly innovative collection. In order to achieve this, he decides to enlist the help of Mucha who had demonstrated a talent for drawing jewellery in his posters.

The collaboration is a great critical success and the start of a three-year partnership. Together, Mucha and Fouquet redefine jewellery design. For the first time, materials are chosen for their aesthetic, rather than monetary, value.

In addition to his work for the Austro-Hungarian government, Mucha’s work is represented in a number of exhibitions at the Exposition Universelle.

His decorations for the Bosnia-Herzegovina Pavilion win silver prize, and he is made a Knight of the Order of Franz Josef I for his contributions to the empire.

Mucha is awarded the Légion d’honneur by the French government for his contribution to the Paris Exhibition. The same year, he is elected a member of the Czech Academy of Sciences and Arts.

Mucha accompanies his friend, Auguste Rodin, to Prague on the occasion of Rodin’s exhibition at Jan Kotera’s new Mánes Pavilion in Prague. The two friends travel on to Moravia before Rodin leaves for Vienna.

Several years later, Rodin presents Mucha with a small bronze cast of Les Damnées. 

Mucha's work is included in the 1st International Exhibition of Modern Decorative Art in Turin.

His sculpture La Nature (1900) and his ‘snake’ bracelet designed for Sarah Bernhardt and executed by Fouquet (1899) – both featured in the 1900 Paris Exhibition – are both included in the show.

Mucha is introduced to Marie (Maruška) Chytilová.

22 years his junior, Maruška (1882-1959) is an art student at the School of Applied Arts in Prague.

While visiting Paris with relatives, she enlists the help of her uncle, the eminent Czech art historian Dr. Karel Chytil, to arrange art classes with Mucha. Mucha obliges, encouraging Maruška to follow classes at the Académie Calarossi at the same time, and they spend each of the remaining days of her month-long sojourn together. 

With the help and encouragement of one of his friends, Baroness Rothschild, Mucha makes his first trip to the US. His arrival makes front-page news in the American newspapers.

While in America, Mucha tries to embark on a new career as a society portrait painter, believing this to be a more lucrative line of work that will enable him to gather the funds necessary to complete his magnum opus, the Slav Epic.

Mucha receives his first portrait commission from Mrs. Wissmann, a relative of Baroness Rothschild and a well-connected figure of New York society.

Mucha gives classes, known as the “cours Mucha”, at the New York School of Applied Design for Women.

Established in 1892 by philanthropist Ellen Dunlop Hopkins, the school provides courses in book cover design, stained glass, textile and wallpaper design and illustration. Mucha’s classes are held every Tuesday and are open to both men and women. They prove to be extremely popular.

During the trip, Mucha is befriended by President Roosevelt and his family.

Mucha returns from New York to Prague where he marries Maruška.

After their honeymoon in the small village of Pec in the highlands of South Bohemia, they return to the US, but this time to Chicago where Mucha is given a teaching post at the Art Institute.

Mucha is commissioned by Charles Richard Crane, heir to R.T. Crane Brass and Bell Foundry, to paint the portraits of his two daughters, Josephine (The National Gallery, Prague) and Frances (unfinished). Mucha had met Crane at a banquet in aid of Russia in 1904.

Crane becomes interested in Mucha’s Slav Epic project and introduces him to Woodrow Wilson, then a professor at Princeton University and future President of the United States (1913-21), who shares his interest in political issues in Central Europe. 

Mucha’s daughter Jaroslava is born on 15 March in New York.

Mucha is commissioned to paint the American actress Maude Adams in the role of Joan of Arc in a translation of Friedrich Schiller's Die Jungfrau von Orleans (The Maid of Orleans).

Maude Adams was one of the most successful and highly-paid performers of her day, and the play was put on for a crowd of around 2000 spectators in a one-night gala performance at Harvard University Stadium.

The portrait served as a poster for the event and Mucha was also responsible for designing the costumes and sets.

The Muchas holiday in Rosice, South Moravia, where Alphonse makes his earliest sketches for the Slav Epic.

While there, Mucha is asked by the City of Prague to decorate the newly built Obecní dům (Municipal House).

Mucha obtains Crane’s promise of financial support for his Slav Epic project.

Mucha leaves the US for Prague where he begins work on the Obecní dům (Municipal House). The decorative scheme includes small panels, murals and a ceiling painting for the Lord Mayor’s Hall.

With Crane’s recent promise of financial support for his Slav Epic project, Mucha rents a studio and apartment in Zbiroh Castle, a 12^th century château in West Bohemia. He devours all available books on the subject and draws up a list of specialists in the field, such as Ernest Denis, a French expert on Slavonic history who he meets in Paris the following year.

Mucha visits Dubrovnik and Lopud Island on the Croatian coast. He paints his first oil sketches for the Slav Epic while staying at a friend’s villa on Lopud Island.

At the end of the year, he presents the city of Prague with his first three canvases: The Slavs in Their Original Homeland (cycle no.1), The Celebration of Svantovít Festival (cycle no.2) and The Introduction of the Slavonic Liturgy (cycle no.3).

Mucha travels to Versailles to study methods for hanging and lighting large paintings. 

He attends the opening of the Armory Show in New York, and travels to Chicago to discuss the Slav Epic with his patron Crane.

He also makes a research trip to Russia to collect material for his fourth Slav Epic canvas, The Abolition of Serfdom in Russia (cycle no.19). 

Mucha presents The Defence of Sziget (cycle no.14), The Printing of the Bible of Kralice (cycle no.15) and The Abolition of Serfdom in Russia (cycle no.19) to the City of Prague.

Mucha’s son Jiří is born on 12 March in Prague.

Jiří later becomes a successful novelist and his father’s biographer. From the 1960s, he organisises a number of retrospective exhibitions that help to revive interest in his father’s work.

Mucha entrusts three more Slav Epic canvases to the City of Prague: Milič of Kroměříž (cycle no.7), Master Jan Hus Preaching at the Bethlehem Chapel (cycle no.8) and The Meeting at Křížky (cycle no.9), which together form the triptych Magic of the Word.

Czechoslovakia’s first series of postage stamps, designed by Mucha, are issued.

Mucha presents two more Slav Epic canvases to the City of Prague: Petr Chelčický at Vodńany (cycle no. 12) and Jan Amos Komenský (cycle no.16).

Mucha designs the 100 crown banknote for the Bank of Czechoslovakia which comes into circulation on 5 July. This is followed by his designs for 1,000, 500, 50, 20,10 and 5 crown notes which appear between 1919 and 1931.

The first exhibition of the Slav Epic is held at the Klementinum, Prague.

Five canvases are included in the show, including The Celebration of Svantovít Festival (1912), The Abolition of Serfdom in Russia (1914), and the Magic of the Word Triptych (1916). 

The exhibition travels to the US for a touring exhibition, attracting over 53,000 visitors in a single week at the Art Institute of Chicago.

Mucha’s Slav Epic paintings are exhibited at the Chicago Art Institute.

The show attracts over 50,000 visitors in a single week.

While in the US for his exhibition, Mucha is awarded a number of commissions, including twelve covers for the monthly magazine, Hearst’s International.

The Brooklyn Museum in New York organises a major retrospective of Mucha’s work featuring five Slav Epic canvases alongside 15 oil paintings, 130 drawings and his best-known posters.

The exhibition is a huge critical and commercial success, with around 600,000 visitors.

Mucha presents the City of Prague with three more Slav Epic canvases: Tsar Simeon of Bulgaria (cycle no. 4), After the Battle of Vítkov (cycle no.11) and The Hussite King Jiří of Poděbrady (cycle no.13).

Mucha makes research trips to the Balkans and Greece where he visits the peninsulas of Halkidike and Thessaloniki in Northern Greece, and the Serbian Orthodox monastery of Chilandar (now Hilandar) in Mount Athos.

Mucha completes three more Slav Epic Canvases: The Bohemian King Přemysl Otakar II (cycle no.5), The Coronation of the Serbian Tsar Štěpán Dušan as East Roman Emperor (cycle no.6) and After the Battle of Grünwald (cycle no.10).

Mucha publishes his book Svobodné zednářství (Freemasonry), to mark the 333^rd anniversary of the birth of Jan Amos Komenský (1592-1670), considered by many Czechs at that time at the spiritual founder of Freemasonry.

The final Slav Epic canvases are painted in a school auditorium in Prague: The Holy Mount Athos (cycle no.17), The Oath of Omladina under the Slavonic Linden Tree (cycle no. 18) and The Apotheosis of the Slavs (cycle no.20).

Mucha and Charles Richard Crane officially bequest the complete Slav Epic cycle to the City of Prague to mark the 10^th anniversary of the creation of Czechoslovakia.

19 Slav Epic canvases are exhibited at Prague’s Trade Fair Palace to inaugurate the palace in celebration of the 10th anniversary of the foundation of Czechoslovakia.

The exhibition excludes one unfinished canvas, The Oath of Omladina.

Mucha is commissioned by the Slavia Bank to design a stained-glass window for the recently restored Gothic North Nave of St. Vitus Cathedral in Prague.

Mucha completes a mural for the Nymburk City Saving Bank, The Surrender of Nymburk in the Year of Our Lord 1421 to God and the People of Prague.

Mucha and his family move to Nice, France, where they stay for two years.

Mucha is made an Officier de la Légion d’Honneur, one of the highest decorations in France, on the recommendation of the French President, Raymond Poincaré (1860-1934).

Mucha’s mural for the Hlahol Choir, The Song (begun in 1921), is installed in the Great Hall of the society’s building in Prague.

Mucha starts working on a new project for a triptych on a similar scale to the Slav Epic canvases: The Age of Love, The Age of Wisdom and The Age of Reason. The triptych remains unfinished.

Mucha catches pneumonia in the autumn and his work slows down.

Mucha’s Masonic activities arouse suspicion among the Germans and he is arrested by the Gestapo in March. He is released after several days of questioning, but his health deteriorates rapidly. 

Mucha dies on the 14 July. He is buried at the Slavín Cemetery in Vyšehrad, Prague. Despite the ban on public gatherings and speeches enforced by the Germans, the Czech Art Academician, Max Švabinský, delivers a funeral speech to a large crowd of mourners. 

Mucha's son Jiří marries his first wife Vítězslava Kaprálová, a young Czech composer, in Paris.

Their marriage ends two months later when she falls ill and dies prematurely at the age of 25.

When France falls, Jiří escapes to Agde in southern France with the remains of the newly formed Czech army.

The Slav Epic canvases are hidden in underground storage in the Bohemian National Archives during the German occupation.

Jiří moves to England, where he joins the Royal Air Force. He later becomes a war correspondent for the BBC.

in the spring, Jiří meets Geraldine (née Thomsen), a Scottish composer; they marry that autumn.

Jiří returns to Prague with Geraldine and the couple move in with Maruška and Jaroslava.

The Slav Epic canvases are transferred to another underground storage space in Prague. It is here that they suffer water damage during a flood. 

Jiří and Geraldine’s only son, John, is born in London.

Proposals for the placement of the Slav Epic canvases are discussed but no decision is reached.

The Slav Epic canvases are handed over to the National District Committee in Moravský Krumlov in January in order to be stored in the town’s castle. The work remains the property of the City of Prague.

Jiří is arrested by the Communist government for alleged espionage. The State Prosecutor demands the death penalty but he is sentenced to hard labour at the Jachymov uranium mines.

Jiří is released from prison due to the efforts of his wife Geraldine.

The nine restored canvases of the Slav Epic are exhibited in the Knight’s Hall and the Chapel of Moravský Krumlov castle. The City Council of Moravský Krumlov funds the restoration of the remaining canvases.

Two Mucha retrospectives are held simultaneously in London: Art Nouveau and Alphonse Mucha at the Victoria & Albert Museum and a two-part show, Alphonse Mucha – Art Nouveau 1890-1913, at the Grosvenor and Arthur Jeffress galleries.

Curated by Brian Reade, the Victoria & Albert retrospective is a noted success.

Mucha’s first biography written by Jiří, Alphonse Mucha: The Master of Art Nouveau is translated into English by Geraldine and published in Prague.

The Bibliothèque Forney in Paris presents an exhibition entitled Un Maître De L'art Moderne : Alphonse Mucha (A Master of Art Nouveau: Alphonse Mucha).

All twenty Slav Epic canvases are exhibited in Moravský Krumlov castle. The castle becomes the home of Mucha’s gift to the nation (until 2011).

This exhibition of Mucha's illustrations was presented at the College Library of the University of California in Los Angeles as part of International Book Year.

The Mount Royal Station Gallery of the Maryland Institute College of Art in Baltimore presents Poster Artist Mucha.

The first monograph on Mucha’s photographic work, Alphonse Mucha Photographs by Graham Ovenden, is published in London (Academy Editions) and New York (St. Martin’s Press)

The Musée Horta in Brussels presents an exhibition of Mucha's work.

The Grand Palais in Paris hosts a retrospective of Mucha's work organised by the Musée d'Orsay.

Jiří Mucha donates a number of works to the French state at this occasion.

The exhibition travels to the Mathildenhöhe in Darmstadt and the National Gallery of Prague.

The Tokyo Shimbun organises the first retrospective in Japan, which premiers at the Isetan Museum of Art in Tokyo and tours to Nagoya, Kyoto, Fukuoka, Kobe, Yokahama and Sapporo.

Alphonse Mucha: The Complete Posters and Panels by Jack Rennert and Alain Weill is published in Paris (Henri Veyrier) and in Uppsala, Sweden (Hjert and Hjert).

Established in Prague in 1925, the Czechoslovak PEN club brings together some of the most important names in Czechoslovak literature.

The Museum Fridericianum in Kassel, West Germany, hosts an exhibition of Mucha's work.

Jiří’s widow Geraldine and his son and heir John establish the Mucha Trust and the Mucha Foundation.

Mucha Limited is set up to develop and manage Mucha’s copyright and the use of the Mucha brand and trademarks.

The Mucha Foundation organises its first exhibition, Alphonse Mucha, at the Barbican Art Gallery in London.

Focusing on Mucha’s Parisian period and the celebrated theatrical and commercial posters produced at this time, visitors were invited to discover the scope of Mucha’s work through a selection of jewellery, sculpture, architectural and theatrical designs, magazine covers, book jackets and illustrations, paintings, drawings and photographs.

The Mucha Foundation presents Alphonse Mucha: Pastels, Posters, Drawings and Photographs at the Imperial Stables in Prague.

The Mucha Foundation participates in Alphonse Mucha: The Slav Epic, held at the Kunsthalle in Krems, Austria, from July to October 1994.

The Mucha Foundation participates in a major retrospective organised by Tokyo Shimbun: Alphonse Mucha: His Life & Art.

The show is presented in Tokyo, Kyoto, Shimonoseki, Chiba, Kochi, Kitami, Osaka, Nagoya, Koriyama and Yokohama.

The Mucha Foundation organises Alphonse Mucha and the Spirit of Art Nouveau at the Calouste Gulbenkian Museum in Lisbon.

The exhibition travels to the Museum für Kunst und Gewerbe in Hamburg and the Hôtel de Ville at the Grand-Place in Brussels.

The Mucha Foundation opens the only official museum dedicated to Alphonse Mucha, which soon becomes the most visited museum in the Czech Republic.

All the works in the museum are from the Mucha Trust Collection and the work of the Museum directly supports the work of the Foundation.

The Foundation participates in a major travelling retrospective organised by Art Services International. The show is presented in San Diego, Seattle, West Palm Beach, Raleigh, Tulsa, Reno, Massachusetts and Memphis.

The exhibition covers Mucha's entire career and features over 100 of his most important paintings, posters, panneaux décoratifs, jewellery, sculpture, pastels, drawings and illustrations.

A 352-page, full-colour catalogue, written by an international team of Mucha specialists, accompanies the exhibition.

Mucha’s photographic work is featured in the 3^rd volume of the Foto Torst series presenting historical and contemporary Czech photographers (Torst, Prague).

The Victoria & Albert Museum in London organises a major reappraisal of Art Nouveau, Art Nouveau 1890-1914. It includes a number of works by Mucha.

The exhibition 'rehabilitates' the intellectual and artistic heritage of Art Nouveau and repositions it in the history of Modernism.

Paul Greenhalgh, Head of Research at the Victoria and Albert Museum and curator of the exhibition, argues that Art Nouveau was the first style to be promoted by mass communication and the first self-conscious attempt to create something that looked modern.

The exhibition travels to the National Gallery in Washington D.C.

The Mucha Foundation organises the exhibition Alphonse Mucha: Master of Art Nouveau, at the City Art Centre in Edinburgh and Ferens Art Gallery in Hull.

A major retrospective, Alphonse Mucha: The Splendour of Art Nouveau, is organised by The China Post.

It tours Taiwan, travelling to the National Museum of History in Taipei, the Museum of Fine Arts in Kaohsiung and the National Taiwan Museum of Art in Taichung.

Organised by the Mucha Foundation, Munich's Museum Villa Stuck and Berlin's Broehan Museum, this exhibition explores Mucha’s multifaceted artistic achievements through his paintings, photographs, sculptures, drawings and pastels, as well as furniture designs, book covers, product packaging and jewellery from all stages of his career.

The Nippon TV Network Corporation organises a major retrospective in collaboration with the Mucha Foundation.

The exhibition includes 240 items, with approximately 100 items on loan from the Mucha Foundation.

Between 2004 and 2006, it travels to six cities: Takamatsu, Tokyo, Nagoya, Hamamatsu, Matsue and Osaka.

The most comprehensive exhibition to be mounted in Northern Europe is organised by the Mucha Foundation and the Amos Anderson Museum in Helsinki.

The exhibition presents around 190 works from the Mucha Trust collection, including graphic works, decorative designs, pastels, drawings, oil paintings, photographs and jewellery.

The exhibitions travels to Finland (Helsinki, Turku), Denmark (Copenhagen), Belgium (Liège), Sweden (Stockholm) and Poland (Warsaw, Poznań).

The Fundacio La Caixa organises a major retrospective in partnership with the Mucha Foundation.

Alphonse Mucha 1860-1939: Seduction, Modernity, Utopia explores all facets of Alphonse Mucha’s art in relation to four broad themes: Theatre, Beauty, Mystery and Modernity.

The exhibition tours Spain, showing in six cities: Barcelona, Madrid, Palma, Salamanca, Tarragona and Lleida.

The Mucha Foundation participates in a major travelling retrospective which opens at the Österreichische Galerie Belvedere in Vienna before travlleing to the Musée Fabre in Montpellier, and the Kunsthalle Hypo Kulturstiftung in Munich.

Among the show's highlights are the reconstruction of the Bosnia-Herzegovina pavilion for the Paris World Fair (1900), and the presentation of two monumental paintings from the Slav Epic (1910-1926).

The Mucha Foundation co-organises Alfons Mucha: Czech Master of the Belle Epoque, presented at the Museum of Fine Arts in Budapest and the Moravian Gallery in Brno.

Focusing on Mucha's motifs of women, the exhibition examines themes such as the femme fatale, Sarah Bernhardt, the femme commerciale et artistique, Mucha’s advertising and art posters, the femme symbolique and Slavia and other female personifications with Slavic features.

The exhibition is held as part of the 2009 Spring Cultural Festival in Budapest and marks the Czech presidency of the EU in 2009.

The City of Prague requests that Moravský Krumlov return the Slav Epic canvases. Over a thousand people gather in Moravský Krumlov to protest against the planned move of Mucha’s masterpiece from the town.

To commemorate the 150^th Anniversary of Mucha’s birth, the Foundation organises a travelling retrospective, Alfons Mucha: The Apotheosis of Love.

The exhibition is presented in Prague, Kutná Hora, and Ostrava.

The City of Prague Gallery forcefully removes the Slav Epic canvases from Moravský Krumlov to Prague.

Presented at the National Palace Museum in Taipei and the Museum of Fine Arts in Kaohsiung, Alphonse Mucha – Art Nouveau & Utopia showcases 178 important works by Mucha from the Mucha Trust Collection.

The show includes Mucha's renowned fin-de-siècle posters and decorative works alongside his lesser-known drawings, paintings, pastels, jewellery and photographs.

The exhibition explores Mucha's quest to evoke a mental and spiritual utopia in his work by seeking harmony between heaven, earth, and mankind. Through his decorative and commercial designs, Mucha attempted to capture the beauty and mystery of the divine.

Geraldine Mucha, Alphonse Mucha's daughter-in-law, dies at her home in Prague on Friday 12th October at the age of 95, surrounded by family and friends.

Alphonse Mucha: Inspirations of Art Nouveau is presented as the inaugural exhibition for the opening of the National Czech & Slovak Museum & Library, in Cedar Rapids, Iowa.

Featuring over 230 rare works by Mucha, including paintings, jewellery, sculptures and lithographs, it is the first exhibit of this size and caliber to appear in the United States since 1999, and the first of its type to appear in the Midwest region.