James Jacques Joseph Tissot Art

Based on a photograph of Mrs. Newton with a woman and child, presumably her sister, Mary Hervey and her niece Lilian. From the 1st edition, printed in London by Goulding Edition: 100 impressions printed by Goulding, London, 1881 200 impressions printed by Delatre, paris, 1882/3 In the estate vente there were 18 impressions "in different states" The plate was canceled and in the collection of the Sagot-LeGarrec heirs, Paris Printed on Dutch, Van Gelder watermark laid paper Signed and dated in the plate upper center plate edge Good morning, Thanks for your email about James Jacque Joseph Tissot works on paper. In addition to the example you wanted more information on, I have the following work by Tissot listed on 1st Dibs. Access them by place the LU_____ number (which is below the title) in the search box. It should take you right to the product page. Le Matin (Morning) LU1409989932 La Soeur ainee The Elder Sister LU1405402222 In Foreign Climes LU1406944542 Au bord de la mer (At the Sea Side) LU1409990002 Tissot is a very interesting artist. He was a close friend of both James Whistler and Edgar Degas. You can find a good biographical sketch on Wikipedia. There have been numerous museum exhibitions dedicated to his works in the United States, Europe and Japan. Please let me know if you have any other questions. All the best, Tom French...

This artwork titled "Renee Mauperin, Renee Sitting at the Piano, Crying" 1882 is an etching on Holland paper by renown French artist James Jacques Joseph Tissot, 1836-1902. It is sig...

James Tissot was among the most successful and critically acclaimed artists of the Victorian era. Although the artist is celebrated for his elegant scenes of fashionable life in Paris and London, this work is a fascinating rarity within his oeuvre. In this monumental pastel, Tissot depicts a prehistoric woman draped in a tiger skin, presented with a striking pose and heroic air. His delicate portraiture, combined with his fascination with conveying texture, demonstrates why he was one of the most revered artists of his generation, and La femme préhistorique illustrates the remarkable technique for which he was renowned. This work was completed in preparation for a series of works exploring the Old Testament undertaken by Tissot from 1899-1902 that remained unfinished at the time of his death. A portion of this series focused on illustrations of Adam and Eve, and among these sketches were images of a nude Eve partially draped in animal furs. Towards the end of his life, following his conversion to Catholicism, biblical subjects became important to the artist. A few years before this work was completed, Tissot embarked upon a highly ambitious group of nearly 300 watercolors illustrating the New Testament, presenting the illustrated epic in its entirety at the Paris Salon of 1894. Both of these series were a critical artistic departure for the artist, stemming from a desire to create works separated from his typical images of modern society. This pastel imagines Eve as the prototype of womanhood in the guise of a prehistoric woman. Tissot rarely painted the nude, and his skill as a draftsman highlights the figure's natural beauty, contrasting it with the stark landscape surrounding her. Although a study, this monumental work is incredibly well-finished and highly engaging, with the statuesque model commanding the majority of the canvas. Her pose is strong and theatrical, and she addresses the viewer with a direct, confident gaze. The imagined historical subject of this drawing is grounded by Tissot’s exceptional attention to detail. A master of conjuring an array of textures, Tissot showcased this ability in this work by juxtaposing many types of fabrics and natural elements within one composition. The tiger skin with which the woman partially covers herself was a favorite studio prop of Tissot’s, appearing in many of his most influential works from the period, including several paintings of his partner and favorite model Kathleen Newton. It, in particular, showcases the artist’s understanding of texture, yet it also serves as an exotic element that elevates the sensuality of the scene when placed against the woman’s bare skin. Born in 1836 in the port town of Nantes, Tissot traveled to Paris at the age of 20 in order to join the studios of Hippolyte Flandrin and Louis Lamothe. During this period, he became close with James Abbott McNeill Whistler, Edgar Degas and Edouard Manet, and the impact of these friendships is reflected in his portraits of modern life. Having enjoyed considerable success in Paris during the 1860s, Tissot fought in the Siege of Paris, and after the fall of the Commune in 1871, he went to London, where he stayed for the next ten years. He was met with incredible success there, and he also met the love of his life, Kathleen Newton, a divorcée, with whom he lived from about 1876 until her death in 1882. Today he is regarded among the great masters of Belle Époque painting, and his works can be found in important collections worldwide, including the Metropolitan Museum of Art, the Brooklyn Museum, the National Gallery of Art, the Musée d’Orsay, the Tate Gallery and many others. This pastel remained in Tissot's private collection until his death in 1902 and is referenced in the posthumous 1902-3 valuation of Tissot's home at 64 avenue du Bois...

This exceptional oil by the great French master James Jacques Joseph Tissot captures a regal Queen of Sheba greeting the biblical King Solomon for the f...

Tissot, James. LE BANC DE JARDIN. Mezzotint, 1883 (Wentworth 75, 1st state). 16 1/2 x 22 1/8 inches; 419 x 562 mm. Edition, per Wentworth, "at least 500...

Printemps (Spring). 1878. Etching and drypoint. Tissot 30, Béraldi 27, Wentworth 34. 15 5/8 x 6 (sheet 24 x 10 1/8). Edition about 100. Slight mat stain; otherwise fine condition. A...

James-Jacques-Joseph Tissot 1836-1902• French Portrait of Clotilde Briatte, Comtesse Pillet-Will Pastel on paper laid down on canvas World-renowned for his fascination with femininity and all its accoutrements, 19th -century French painter James Tissot offers us an intriguing mix of sensuality and mystery with his outstanding portrait of Clotilde Briatte. Tissot’s portrait of the comtesse is a study of an innovative and compelling personality. Rendered with exquisite detail and draftsmanship, Tissot’s use of pastel allows the artist to reproduce in great detail the billowy hydrangeas framing the comtesse's luxurious fur cloak, her shift-like translucent white wrap dress and her expression of composed tranquility. For over a century the present work was known only by an image in Tissot's photo album and was misidentified as a "portrait of an unidentified lady, possibly the niece of the artist." The subject was only recently revealed to be Clotilde Briatte, the wife of Count Alexis Frederick Lois Pillet-Will, the director and regent of the Bank of France. The Pillet-Will's also owned the famous Chateau Margaux Vineyard. Their daughter Helen Marie became the Duchess of Thouars and the Princess of Taranto when she married the Duke of Thouars, Louis Charles Marie de La Tremoille. The comtesse was not just an interesting subject for Tissot because she represented prestige, nobility and beauty but also because she was a Spiritualist who had written many books under the pseudonym Charles d’Orino. In these books she recorded her communications with spirits and expounded on her occult interests. Tissot was born in 1836 to a family of Italian descent in the port town of Nantes, France. His father was drapery merchant and his mother designed hats. His parent's involvement with textiles and fashion ultimately had a profound impact on Tissot's work. In 1856 he travelled to Paris and enrolled to study at the studios of Hippolyte Flandrin and Louis Lamothe. Tissot also became close with Whistler, Degas and Manet. His portraits of modern life became incredibly popular and were held in high critical acclaim. Having enjoyed considerable success in Paris during the 1860s, Tissot fought in the Siege of Paris, and after the fall of the Commune in 1871, he went to London, where he stayed for the next ten years. He was incredibly successful as a painter there and also met the love of his life, Kathleen Newton, a divorcée, with whom he lived from about 1876 until her death in 1882. Following her death Tissot returned to Paris, where he had kept the home and studio he had built on the Avenue du Bois de...