Jozef Teodor Mousson - WW1 Turkish battleship ( Slovakian / Hungarian)

Measures: 31cm  x 40cm   12.2" x 15.7"

Oil on canvas!

Signed on the right corner: Mousson 1914  /and somehing i cant read it/

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Joseph Theodor Mousson was born on 15. 12. 1887 in Hőgyész in Hungary, died 6. 11. 1946 in Trencin. 1905-9 he studied at the Academy of Fine Arts in Budapest (prof. Ball). 1910 received a scholarship from the Association of Fine Artists Muvésház. 1911 short stay in the artists' colony in Nagybánya. Since 1911 he lived permanently in Michalovce, in the same year a short stay in the painting colony in Nagybánya. In 1919, a teacher, then a freelance artist. 1913 study trip to Italy (Venice and vicinity). In 1931 he moved into the villa in Hradek near Michalovce, which he rented for free admirer of his work, Count Sztáray. 1942 stroke, after which the left-hand paralyzed. 1,944 evacuated in Bratislava, after 1945 lived in Trencin. Member of the Kunstverein and JUV Slovakia. Solo exhibitions: Košice (1916, 1931, 1935), Prague (1922, 1935), Ostrava (1930) Michalovce (1931), Ruzomberok (1932), Bratislava (1933), Prešov (1933), Uzhgorod (1936), Trnava (1937). The file shows was in Košice (1956, 1977, 1978, 1982), Bratislava (1979), Michalovciach (1947, 1956, 1987). In the years 1967 - 1977 making permanent exhibition of works by the artist in Michalovce. From the literature: Vízdalová-Haščáková, G .: Teodor Jozef Mousson, Košice 1979. Joseph Theodor Mousson, Magyarized painter from a family of French origin and operating continuously since 1911 in Michalovce, centered on storytelling spectacular images of urban markets zvykoslovných genre scenes and working themes. Over time, he created an author of feature compositional Manieri with a centrally located group of costumed female characters Tv viewed from the back (Market Michalovce, around 1910, the square in Michalovce with carriages, 1915; Street in Winter, 1917; November's market, 1917; Market under great Šiatrom 1920; the market in winter 1922, the market outside the church, around 1925). Moussonova painting the top to the end of the twenties and mid-thirties in unison ebullient unmistakeable handwriting and decorative, sometimes aggressive color sensations, drawn from the wealth of folklore of Zemplín, which became ethnographic although rigorous, but extremely monographer a painting.

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