Lot 125: Gustav Adolf Mossa Nice, 1883 - 1971 "Gretchen" (Visions de guerre ) Aquarelle

Artcurial

November 14, 2016
Paris, France

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Description: Gustav Adolf Mossa Nice, 1883 - 1971
"Gretchen" (Visions de guerre )
Aquarelle
Signée et datée ''G. A. MOSSA / 1917'' en bas à gauche
Titrée ''Gretchen'' dans la marge en bas à gauche

"Gretchen", watercolour, signed and dated, by G. A. Mossa
h: 42 w: 62,50 cm

Provenance : Succession Mossa, 1972 ;
Collection France Mossa-Lombart ;
Vente anonyme ; Paris, Hôtel Drouot, Mes Ader et Tajan, 19 décembre 1994, n° 52 ;
Collection particulière, Paris


Expositions : ''Visions de guerre'', Nice, L''Artistique, 30 janvier - 10 février 1918, n° 118
''Allégories et paysages'', Marseille, galerie Lambert, 12-23 novembre 1918, n° 13
''Gustav Adolf Mossa, l''oeuvre symboliste, 1903-1918'', Paris, pavillon des arts, 19 juin - 27 septembre 1992, Nice, galerie des Ponchettes et galerie Mossa, 22 janvier - 18 avril 1993, p. 215, n°126
''Alexis et Gustav Adolf Mossa témoins de la Grande Guerre'', Nice, galerie de la Marine et musée des Beaux--Arts, 10 novembre 2001 - 10 janvier 2002, p. 6
''Eros et Thanatos'', Evian-les-Bains, Palais Lumière, février - 18 mai 2008, p. 242

Bibliographie : Raymond Febvre, "La Vie artistique. Au musée des Beaux-Arts de Nice", in ''La Vie niçoise'', 17 mars 1918
J. T., "Des Grognards aux poilus", in ''L''Eclaireur de Nice'', 5 mars 1918, p. 3
Jean-Roger Soubiran, ''Les Aquarelles symbolistes et la création plastique symboliste de Gustav Adolf Mossa'', thèse de doctorat, Université d''Aix-en-Provence - Marseille, 1978, p. 667, n° 345
Jean-Roger Soubiran, ''Gustav Adolf Mossa, 1883-1971'', Nice, 1985, p. 250, n° 337
Sylvie Lombart, Jean-Roger Soubiran, ''Gustav Adolf Mossa, Catalogue Raisonné des oeuvres "symbolistes"'', Paris, 2010, p. 423-424, n° A364

Commentaire : Artiste de l''étrange et peintre de l''âme, Gustav Adolf Mossa est l''auteur d''une œuvre surprenante et fascinante, considérable pour qui prend le temps de s''imprégner de l''esprit du maître.
Sa période symboliste (1904-1911) représente la quintessence de sa production et reflète une personnalité exceptionnelle dont l''œuvre reste bien souvent cruel et énigmatique mais invariablement subjuguant.
L''œuvre de Mossa ne peut être compris qu''au travers de ses rapports avec la musique, la peinture et la littérature, et de son admiration pour Baudelaire, Mallarmé ou Barbey d''Aurevilly. Il fut lui-même auteur de livrets d''opéras et de pièces lyriques. Ses toiles et ses dessins constituent un ensemble de références à des mythes, des fables qu''il manie tel un psychanalyste : conflits des pulsions de vie et des pulsions de mort, plus particulièrement dans la représentation de Salomé qui hante presque tous les symbolistes.
Notre dessin doit être replacé dans le contexte de la Première Guerre mondiale lors de laquelle Mossa fut mobilisé. En 1918, il présente au cercle de l''Artistique de Nice une série de treize aquarelles réalisées en 1917 au sein d''une exposition d''œuvres de dix artistes soldats intitulée Visions de guerre. Appartenant à ce cycle, Gretchen est une œuvre profondément germanophobe, une allégorie de l''invasion impériale allemande comme l''artiste en réalisa tant. Il s''inspire ici du mythe de Faust qu''il mit en images quelques années avant, en 1912, pour illustrer l''œuvre musicale de Schumann. Marguerite - dont le diminutif allemand est Greta ou Gretchen - est assoupie au premier plan, Faust qui vient de la trahir échange avec Méphistophélès au second plan. Un vase renversé de myosotis représente le serment d''amour brisé, Marguerite accouche de son enfant mort-né qui prend le visage terrible de l''invasion allemande…



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Old Master & 19th Century Art

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