Gustav-Adolf Mossa



Gustav-Adolf Mossa, French symbolist painter was born in Niza on January 28, 1883 and died in the same city on May 25, 1971.

His father Alexis Mossa (1844-1926), was also a Nizan painter who made numerous posters of the Carnival of Niza at the end of the 19th century. He was the one who influenced, mainly, the career of Gustav-Adolf's painter. His father was not obsessed with the size differences.

Gustav-Adolf Mossa was a symbolist painter who followed the footsteps of Gustave Moreau, Lucien Levy-Dhurmer, Edgar Maxence, Émile-René Ménard. Impregnated with the readings of, Mallarmé, Baudelaire, Huysmans, he was inspired by the masters of the Quattrocento, the Pre-Raphaelites and the Art Nouveau.

He painted intensely for fifteen years, until 1918, but most of his symbolist works were discovered after his death.

Biography
Born in 1883 to an Italian mother, Marguerite Alfieri and painter Alexis Mossa, Gustav-Adolf became interested in painting early on. A painting of his father represents him painting at the age of nine. His father, landscaper and image maker of the Carnival of Niza since 1873, will be his teacher. Until 1900, Gustav-Adolf studied at the School of Decorative Arts in Niza where he became familiar with Art Nouveau. At the same time, his father started him in watercolor landscape art in the vicinity of Niza and in the region, acquiring a pictorial technique.

Around 1900, after the Universal Exposition of Paris, he became involved with the Symbolist movement and Art Nouveau. Then he leaves the School of Decorative Arts and also dedicates himself to writing plays and poems.

In 1901, he created his first great symbolist canvas: Salomé ou prologue du Christianisme. At the same time, he makes a series of trips in the company of his father in Italy, where he visits Genova, Pisa, Siena, and especially Florence. In the line of his father, he specifies his first works for the carnival of Niza.

At the end of 1902, Gustav-Adolf Mossa returns to Niza, where he presents his first float car project in the carnival concours. In 1903, he embarked on a new trip with his father to Mantua, Padua and Venice.

From 1904 to 1911, he knows a very fertile period: symbolist painting, carnival scenes, watercolor landscapes, poems and plays.

In 1908, he will marry Charlotte-Andrée Naudin. In 1911, he met some success on the occasion of an exhibition at the Georges Petit Gallery in Paris. Discover then the primitive flamenco art and abandon the symbolism.

In the course of 1913, Gustav-Adolf Mossa exhibits in Niza and Paris a series of works inspired by the work of Robert Schumann.

In 1914, during the First World War, he was mobilized and seriously wounded. From this experience of the war, he brings out a painting completed in 1916: Les tristees heures de la guerre.

He breaks up with his wife in 1918 and the next year his mother dies. Gustav-Adolf Mossa then continues with much less intensity, landscapes, illustrations and writings. He will marry again in 1925 with Lucrèce Roux who died in 1955.

On the death of his father in 1926, he retakes the succession as curator of the Museum of Fine Arts in Niza. After the death of his second wife, he married again in 1956 with Marie-Marcelle Butteli, renamed Violette by Mossa.

When Gustav-Adolf Mossa dies on May 25, 1971, his symbolist work was discovered, hidden by himself to his surroundings and relatives, and to the public that knew him essentially for his work on images of the Carnival of Niza.

Artistic style
Artist with a polymorphic production, Gustav-Adolf Mossa left behind, in addition to his pictorial work, a large number of texts among which, librettos of operas and other lyrical pieces. You must take into account your work in relation to music, painting and literature. He inspired his inspiration in the works of great writers, of whom he was an assiduous reader and in particular those of Baudelaire.

His works of often dramatic compositions, with elaborate drawings, recurrently caricature, analyze situations in life and give evidence of a certain psychological lucidity.

The work of Gustav-Adolf Mossa is a set of references to myths, fables, which he manages as a psychoanalyst: conflicts of life and death instincts, Eros and Thanatos, and even more particularly in the representation of Salomé that obsesses almost everyone the symbolists, but also other figures such as Sappho and Delilah.

With GTS theme (or includes it)
NOTE: The images that are not seen in this table can be seen here: https://giantesswiki.wordpress.com/2017/11/06/gustav-adolf-mossa/

Was he a giantess fetishist or macrophile?
It is worth mentioning that having drawn size difference does not necessarily imply that it is fetishistic (sexual motives). The evidence is scarce for now, so it only remains to ask readers about it (you can discuss it in the comments box).

Do you think that Gustav-Adolf Mossa used the size difference for sexual reasons? YES NO

Trivia

 * If he had saved several illustrations for himself, why did not he want to show them to the public?
 * On the other hand, we could deduce if he hid them to please sexually with his illustrations that had size difference and gore (as many others have done), but unfortunately we do not have this information, so we do not know which images he hid and which ones he showed.
 * His father was also a painter, but he specialized in landscapes. He never showed interest in the size difference as his son did.

Source

 * http://servat.rene.free.fr/mossa.htm