Parisian graphic arts, at the end of the nineteenth century, became synonymous with the hypnotic avant-garde style known as le style Mucha. Alphonse Mucha (1860-- 1939), who had moved to Paris in 1888, became one of the city's premier poster designers. Considered a master of depicting women and flowers, Mucha's style was quickly dismissed as decorative, and the majority of his work has retained this superficial stereotype. Though the decorative panels and posters Mucha created were easily consumed by commercial culture, they still expressed the intellectual and artistic ideas Mucha came across during his stay in France. Japonisme, Conventionalism, and Symbolism were just three ways in which Mucha's artistic practice was influenced. These influential movements have not been thoroughly examined in relation to Mucha's graphic works despite their integral influence on his style. Moreover, the process by which Mucha combined the artistic styles he acquired in Paris with the creation of more spiritual projects like Le Pater and The Beatitudes has also not been investigated. By comparing aspects of Mucha's oeuvre to artists like Utagawa Hiroshige and Eugene Grasset, the extent to which Mucha adopted their ideas towards modeling and observation can be seen. Mucha's ability to combine multiple aesthetic techniques into one image reaffirms that Mucha was an artist engaged with contemporary ideas. The fact that Mucha's work was marketable had not distracted him from wanting to make work with spiritual meaning. He began to use the techniques from his decorative work to complete projects like Le Pater and The Beatitudes. By examining these works, the theoretical and symbolic influence of the Parisian Symbolists Mucha gravitated toward will also become clearer. Consequently, by analyzing the combination of artistic techniques Mucha used in all of his works, the superficial mold that has surrounded Mucha's career can be broken to reveal that le style Mucha is both theoretically complex and symbolically rich.