1 2 3 4 Simonelli 1999, p
Yet, by focusing on what highlights there are to be gleaned from the full-spectrum aberration that was mucho Mucha, one thing is absolutely clear: when eyeing him through the opposite end of the Ornament and Crime Modern telescope that rejected his fabulous excessiveness, much of Muchas work reinforces complex, postmodern, digital reactions against a simple American modernism that favored clean lines and unadorned geometry that in his post-Paris memoir Henry Miller has called The Air-Conditioned Nightmare
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