![\"mossa1.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2011\/01\/mossa1.jpg\")
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Self-portrait.<\/em><\/p>\n A French artist and another late Symbolist painter whose idiosyncracies point to Surrealism but whose obsession with femmes fatales<\/em> looks back to the preoccupations of the fin de si\u00e8cle<\/em>. If you don’t mind the implicit misogyny there’s a lot more to be seen here<\/a> and here<\/a>.<\/p>\n Elle (1906).<\/em><\/p>\n Le baiser d’H\u00e9l\u00e8ne (1905).<\/em><\/p>\n Bruges-la-morte (1911).<\/em><\/p>\n Previously on { feuilleton } Self-portrait. A French artist and another late Symbolist painter whose idiosyncracies point to Surrealism but whose obsession with femmes fatales looks back to the preoccupations of the fin de si\u00e8cle. If you don’t mind the implicit misogyny there’s a lot more to be seen here and here. Elle (1906). Le baiser d’H\u00e9l\u00e8ne (1905). Bruges-la-morte (1911). … Continue reading “The art of Gustav Adolf Mossa, 1883\u20131971”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,44,18,45],"tags":[148,136,2197],"class_list":["post-8690","post","type-post","status-publish","format-standard","hentry","category-art","category-painting","category-surrealism","category-symbolists","tag-bruges","tag-fin-de-siecle","tag-gustav-adolf-mossa"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2ga","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/8690","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=8690"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/8690\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=8690"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=8690"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=8690"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"mossa2.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2011\/01\/mossa2.jpg\")
<\/p>\n![\"mossa3.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2011\/01\/mossa3.jpg\")
<\/p>\n![\"mossa4.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2011\/01\/mossa4.jpg\")
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\n\u2022 Le Sphinx Myst\u00e9rieux<\/a>
\n\u2022 La belle sans nom<\/a>
\n\u2022 The Feminine Sphinx<\/a>
\n\u2022 Le Monstre<\/a>
\n\u2022 Carlos Schwabe\u2019s Fleurs du Mal<\/a>
\n\u2022 Empusa<\/a>
\n\u2022 Bruges-la-Morte<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"