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James Tissot
French Painter, 1836-1902
French painter, printmaker and enamellist. He grew up in a port, an experience reflected in his later paintings set on board ship. He moved to Paris c. 1856 and became a pupil of Louis Lamothe and Hippolyte Flandrin. He made his Salon d?but in 1859 and continued to exhibit there successfully until he went to London in 1871. His early paintings exemplify Romantic obsessions with the Middle Ages, while works such as the Meeting of Faust and Marguerite (exh. Salon 1861; Paris. Mus. d'Orsay) and Marguerite at the Ramparts (1861; untraced, see Wentworth, 1984, pl. 8) show the influence of the Belgian painter Baron Henri Leys. In the mid-1860s Tissot abandoned these tendencies in favour of contemporary subjects, sometimes with a humorous intent, as in Two Sisters (exh. Salon 1864; Paris, Louvre) and Beating the Retreat in the Tuileries Gardens (exh. Salon 1868; priv. col., see Wentworth, 1984, pl. 45). The painting Young Ladies Looking at Japanese Objects (exh. Salon 1869; priv. col., see Wentworth, 1984, pl. 59) testifies to his interest in things Oriental, and Picnic (exh. Salon 1869; priv. col., see 1984 exh. cat., fig. 27), in which he delved into the period of the Directoire, is perhaps influenced by the Goncourt brothers. Tissot re-created the atmosphere of the 1790s by dressing his characters in historical costume.
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A languid Frederick Leighton in Tissot's (nn01)
1872 caricature from Vanity Fair
Painting ID:: 22845
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A_languid_Frederick_Leighton_in_Tissot's_(nn01)
1872 caricature from Vanity Fair
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A Convalescent (nn01)
c 1876
showing the much featured colonnade in Tissot's Garden
Painting ID:: 22846
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A_Convalescent_(nn01)
c 1876
showing the much featured colonnade in Tissot's Garden
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The Ferry (nn01)
c 1878
Tissot's Photograph of himself with Kathleen Newton and her children was the inspiration for his Waiting for the Ferry
Painting ID:: 22847
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The_Ferry_(nn01)
c 1878
Tissot's Photograph of himself with Kathleen Newton and her children was the inspiration for his Waiting for the Ferry
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Pastel Portraits such as Berthe and his La Femme a Paris series represent Tissot's final works before his religious conversion (nn01)
c 1882
Painting ID:: 22848
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Pastel_Portraits_such_as_Berthe_and_his_La_Femme_a_Paris_series_represent_Tissot's_final_works_before_his_religious_conversion_(nn01)
c 1882
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Pinted for The Life of Christ (nn01)
Tissot's melancholy Portrait of the Pilgrim depicts himself as a religious enthusiast
Painting ID:: 22849
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Pinted_for_The_Life_of_Christ_(nn01)
Tissot's melancholy Portrait of the Pilgrim depicts himself as a religious enthusiast
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James_Tissot
French Painter, 1836-1902
French painter, printmaker and enamellist. He grew up in a port, an experience reflected in his later paintings set on board ship. He moved to Paris c. 1856 and became a pupil of Louis Lamothe and Hippolyte Flandrin. He made his Salon d?but in 1859 and continued to exhibit there successfully until he went to London in 1871. His early paintings exemplify Romantic obsessions with the Middle Ages, while works such as the Meeting of Faust and Marguerite (exh. Salon 1861; Paris. Mus. d'Orsay) and Marguerite at the Ramparts (1861; untraced, see Wentworth, 1984, pl. 8) show the influence of the Belgian painter Baron Henri Leys. In the mid-1860s Tissot abandoned these tendencies in favour of contemporary subjects, sometimes with a humorous intent, as in Two Sisters (exh. Salon 1864; Paris, Louvre) and Beating the Retreat in the Tuileries Gardens (exh. Salon 1868; priv. col., see Wentworth, 1984, pl. 45). The painting Young Ladies Looking at Japanese Objects (exh. Salon 1869; priv. col., see Wentworth, 1984, pl. 59) testifies to his interest in things Oriental, and Picnic (exh. Salon 1869; priv. col., see 1984 exh. cat., fig. 27), in which he delved into the period of the Directoire, is perhaps influenced by the Goncourt brothers. Tissot re-created the atmosphere of the 1790s by dressing his characters in historical costume.
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