Skip to main content

Tissot


Hide and Seek, 1877


James Jacques Joseph Tissot was born on October 15, 1836 on the western coast of France. A contemporary of Whistler, Degas and Manet, he reached a fair degree of success in his life yet strangely is almost forgotten today. Born twenty years before Sargent, Tissot would examine contemporary modern life while idealizing beautifully dressed women. Tissot had an eye for capturing moments and facial expressions that deserves particular attention because he did it without resorting to melodrama. He had an acute sense of light and composition, telling a story without having to a need to say a lot, yet still manages to captivate. Oddly enough, in his later years he suddenly became religious and his paintings took a mostly artificial turn, failing to capture the spontaneity and freshness of life that he was a master of. On occasion, he took biblical inspiration into anachronism and made modern-day interpretations of the bible, some of which are worth noting.


In Hide and Seek above, we see a quiet afternoon in the living room of wealthy owners. I love how Tissot has three children hiding on the left, looking coyly at us while the child on the floor awaits her siblings. Note the room is in two-point perspective. Tissot's repoussoir of the drapes creates a vertical sliver of triangular light that bathes the woman reading the newspaper, while to her right a door with a hint of flora catches our eye. Out of the frame on the left another window spills light onto the child on the floor. What is interesting here is that the room itself is a subject...the furniture, the carpets, the lamps, tea kettle, exotic animal rugs...Tissot creates a real presence with the ordinary. I like the cool greenish brushstrokes of the shiny floor contrasting with the heavy texture of the floral patterned area rug. Tissot creates a tactile experience as well as a snapshot of nineteenth century life. And it works.







Self-Portrait, ca. 1865






The Gallery of H.M.S. 'Calcutta', ca.1877

This peaceful composition tells a story: a young naval officer leans on the railing of this ship, appearing to look out into the port but is also interested in the curvaceous woman in yellow to the far right, also leaning on the railing but is "blocked" by a chaperone, uncomfortable to the flirtation going on yet casually looks out also. The young woman to the right gracefully hides her face behind her fan enjoying the attention of the handsome officer. It doesn't seem like much to our modern eyes, yet in this Victorian world Tissot is commenting on the formal propriety of social mores and its inability to hinder natural desires. The choice of colors is also fascinating here, the blue of the chaperone is conservative and cold while the yellow of the young woman is fresh and innocent. The painting was considered scandalous by some when it first exhibited.







Seaside, ca.1878

A simple portrait where Tissot uses soft light to enhance the unique texture of her dress and create a character. She is confident and self-assured, leg crossed, sensual even though covered from neck to ankles. Tissot's yellow features prominently again, fresh and vibrant without being obvious. The attention to pattern and detail is a trademark of Tissot we see once again in the floral pattern of the sofa and in the yellow pillows. His use of environmental elements and texture along with keeping the subject as natural as possible creates a strong sense of presence and realness, something that makes Tissot highly underrated as a portraitist.





Captain Frederick Gustavus Burnaby, ca.1875

A noted traveller and soldier, Captain Burnaby was something of a celebrity in his day, having fought and written about his adventures throughout Spain and Russia. Tissot captures him here in full uniform, cigarette in hand, talking casually in the lavish settings of the Royal Horse Guards. Tissot's attention to furniture detail again adds a warmth and richness to the portrait, helping to define the character. Note his helmet and jacket on the sofa. Near his side are books and a cap. Near his highly polished shoes are what appears to be a pair of shields on the floor, while the map on the wall symbolizes his worldly travels. Portraiture like this is eloquent and yet so simple. Artists who fawn over Sargent should be looking here if they want to really learn something about how to capture people.






The Bridesmaid, 1885

Another allegory on Victorian life, this painting appears to our eyes like a Norman Rockwell in its immediacy. The cramped composition and one-point perspective create a sense of urgency, yet our eyes stop to look at this young bridesmaid about to enter a world of privilege in the stagecoach of this groomsman. This time Tissot focuses on the reaction of the people on the street, from the envious women to the young boy who is surprised by the couple's outwardness. Here the attraction is not physical at all, but materialistic and we see a strong blue tendency in Tissot's palette, with virtually no yellow in sight except for the tiny bonnet on her head. Instead of elaborate textures Tissot uses the street and the surroundings to tell the story. Note the greens in the pavement beneath them.

Tissot was a perceptive voice of his generation, without spectacle or melodrama, which may explain why he isn't regarded as highly today. Learning to see is everything in art, and Tissot most definitely could see.

Comments

Popular posts from this blog

Isaac Levitan, Russian Poet of Nature

Before the Storm, 1890 Born August 30, 1860, Isaac Ilyich Levitan was a Russian landscape painter. Born in Congress Poland to a Jewish family, Levitan would study art in Moscow where he would become friends with Anton Chekov and his brother, Nikolay who was also an artist. Levitan's work has a unique mood that is very distinct from the Impressionism of France and the Classicism of Russia...sometimes compared to Monet but still different. Levitan has a rare presence with astute attention to detail and a fascination with light at different times of day. At times highly accurate, while in his more personal work deeply Impressionistic and imbued with rich tone and color. There is something about Levitan that lingers in your mind long after seeing his work...in a way that is individual and personal, not attached to a specific genre or movement, but to the world around him. In Before the Storm , Levitan captures a moment so stunning it seems to defy words...of sunlight piercing

More Old Master Drawings

There is nothing in all the world more beautiful or significant of the laws of the universe than the nude human body. Robert Henri Charles Louis Müller , A Standing Female Nude Leaning Against an Arch, ca.1864 Once again I decided to talk about some Old Master drawings and delve into the thinking behind how these drawings may have been created and the knowledge of the artist. In the above drawing by Müller, done in sanguine with white chalk highlights, the figure is drawn from a low view-point, with her body twisting toward her left side while resting on one knee. Note how Müller alternates the bent right leg with the bent left arm to create dynamic contrast. The right arm is also foreshortened and partially in shadow. Expressing power and femininity, this is a study that is Renaissance in spirit, even Mannerist, revealing the female nude as sculptural yet always graceful. Anton Raphael Mengs , Seated male nude viewed from the back, 1755 One of several Academic nu

The Genius of Ramon Casas

Open Air Interior, 1892 Born on January 4, 1866 in Barcelona, Ramon Casas i Carbó was a Spanish portrait painter and graphic designer. He was a contemporary of Santiago Rusiñol , both founders of the Spanish art movement modernisme . Where Santiago painted pensive interiors and moody landscapes, Casas focused more on the portrait and figure with a penchant for costume and posture. His palette often consists of more muted tones with vibrant color accents. Casas enjoyed a lengthy and prominent career throughout Europe and South America where he often exhibited in shows with his friend Rusiñol. In Open Air Interior above, Casas encapsulates a quiet moment outdoors during tea time. I love these kind of paintings for their calm visual intensity. The way that man sits in his chair, lost in thought while his wife carefully stirs her tea...this is the kind of mindfulness in the subjects that makes us, the viewer, envision ourselves in this scene. Casas paints the far wall of the house