|
|
|
James Tissot Gentleman in a Railway Carriage, Gentleman in a Railway Carriage, 1872
|
|
|
|
|
|
|
|
|
|
James Tissot Le rendez vous secret Le rendez vous secret
|
|
|
|
|
|
|
|
|
|
James Tissot Bad News Bad News
|
|
|
|
|
|
|
|
|
|
James Tissot A Little Nimrod A Little Nimrod
|
|
|
|
|
|
|
|
|
|
James Tissot Kathleen Newton In An Armchair Kathleen Newton In An Armchair
|
|
|
|
|
|
|
|
|
|
James Tissot Hush Hush!
|
|
|
|
|
|
|
|
|
|
James Tissot Seaside Seaside
|
|
|
|
|
|
|
|
|
|
James Tissot On the Thames On the Thames
|
|
|
|
|
|
|
|
|
|
James Tissot La partie carree La partie carree
|
|
|
|
|
|
|
|
|
|
James Tissot Lilacs, Lilacs, 1875
|
|
|
|
|
|
|
|
|
|
James Tissot Major General The Hon. James MacDonald, sketch for Vanity Fair, Major-General The Hon. James MacDonald, sketch for Vanity Fair, 1876
|
|
|
|
|
|
|
|
|
|
James Tissot The Gallery of H.M.S. The Gallery of H.M.S. 'Calcutta' (Portsmouth), 1877
|
|
|
|
|
|
|
|
|
|
James Tissot Mrs.Newton with a Parasol, Mrs.Newton with a Parasol, c. 1879
|
|
|
|
|
|
|
|
|
|
James Tissot Goodbye, on the Mersey, Goodbye, on the Mersey, 1881
|
|
|
|
|
|
|
|
|
|
James Tissot The Garden Bench, The Garden Bench, 1882
|
|
|
|
|
|
|
|
|
|
James Tissot The Bridesmaid, The Bridesmaid, 1883-83
|
|
|
|
|
|
|
|
|
|
James Tissot Self Portrait Self Portrait, ca. 1865
|
|
|
|
|
|
|
|
|
|
James Tissot What Our Saviour Saw from the Cross What Our Saviour Saw from the Cross
|
|
|
|
|
|
|
|
|
|
James Tissot Pape a Jerusalem Pape a Jerusalem
|
|
|
|
|
|
|
|
|
|
James Tissot Etude Etude
|
|
|
|
|
|
|
|
| |
|
|
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.
|