I'd like to bring a little of our country's national cultural heritage to our news website. We're repeating the successful cycle "Alfons Mucha: The Slavic Epic." This magnificent work took over 17 years to create. Alfons Mucha traveled throughout the Slavic countries to absorb all the essential elements, or, as he himself said, the roots, so that he could depict the richness of the Czech nation. I believe that there is no better time than now to reflect on this national treasure. I wish everyone a wonderful experience and hope that it will enrich our readers' minds.. Each week, we will present one of Mucha's paintings from this unique and extraordinary cycle, with an accompanying commentary.

Alfons Mucha, a Czech painter of the French school, and a world-renowned representative of Art Nouveau painting and decorative art, created a unique and timeless work. It's almost as if he unified the Slavic epoch into a single, symbolic tapestry that not only has immeasurable artistic value but also literally connects historical events and the spiritual force that so characterizes this eternal, and I would say humble, phenomenon of Slavic identity, forging a unity of Slavs through his art and his heart. The Slavic Epic is a magnificent work, and I know of nothing similar in the world.

I had the opportunity to see the Slavic Epic at the castle in Moravian Krumlov before it was moved to Prague, and the first five canvases were exhibited in a small hall of the National Gallery. I must admit that I was so surprised by the difference in lighting between the canvases in Moravian Krumlov and the National Gallery in Prague that I couldn't believe they were the same paintings. From that moment on, I was absolutely convinced that the Slavic Epic should primarily be exhibited in Prague, and that we must fulfill the wish of the brilliant artist Alfons Mucha, which was to build a dedicated space for this unique work.

At the castle in Moravian Krumlov, even during the day, there was a lack of even, natural light, and the paintings were illuminated with ordinary construction lamps. In Prague, I saw the first five canvases in a small hall of the National Gallery. There was enough distance from the paintings to appreciate the overall impression, and they were perfectly lit. The subtle shading achieved by diffusing the light with a thin cloth was truly a stroke of genius. Even the later, special lighting system installed for all the canvases at the National Gallery in Prague was not as perfect to me as the lighting in that small hall. Nevertheless, I believe that the overall concept of the National Gallery in Prague was of the highest world-class standard. Truly excellent work. But let's go back to the paintings of the Slavic Epic. The artist himself, Alfons Mucha, also commented on this collection of paintings.

A foreword by the creator of the Slavic Epic:

"...as early as 1900, I resolved to dedicate the second half of my life to a work that would help to foster and strengthen a sense of national identity in our country. I am convinced that the development of every nation can only succeed if it grows organically and continuously from its own roots, and that knowledge of its historical past is essential for preserving this continuity. In literature, we have beautiful works that present the course of our history to the people's minds – both glorious and sad. Even in music, symphonies and cycles that relate to our history awaken love of country through art.

I wanted to speak to the soul of the nation, to the physical miracle that transmits impressions to consciousness most quickly. A painting, I would say, acts aggressively: it enters the soul with an open eye, regardless. It is up to the viewer how they will interact with it. They may pass it by, not allowing it to enter their consciousness, or they may be drawn in by the exterior of the work, stopping before it and perhaps searching for its content and meaning, and ultimately finding within it the core, whether it be beauty or truth, for which it came into being.

I considered this work, now completed, to be my duty. The realization of such a large project was impossible without material resources. My friend, Mr. Charles R. Crane, an American with a great love for Slavic culture, understood my efforts and helped me to realize my dream.

In 1910, in Chicago, we agreed that he would help to cover the costs associated with my work, which was to be given to the city of Prague as a gift. I avoided in all the images anything that might suggest harsh conflicts or blood spilled in disputes. The purpose of my work has never been to destroy, but always to build, to create bridges, because we must all have hope that all of humanity will come together, and the easier this will be if we get to know each other well. I will be happy if I am given the opportunity to contribute, even in a small way, to this understanding – at least here, in our Slavic family.

Prague, 1928, Alfons Mucha

Jan Vojtěch, Editor-in-Chief, General News