Jacques Joseph Tissot ( Francés: [Tiso] ; 15 octubre 1836 a 8 agosto 1902), Anglicized como James Tissot ( / t ɪ s oʊ / ), fue un francés pintor e ilustrador. Fue un pintor exitoso de la sociedad parisina antes de mudarse a Londres en 1871. Se hizo famoso como pintor de género de mujeres vestidas a la moda que aparecen en varias escenas de la vida cotidiana. También pintó escenas y personajes de la Biblia .
James Tissot | |
---|---|
Nació | Jacques Joseph Tissot 15 de octubre de 1836 |
Fallecido | 8 de agosto de 1902 (65 años) |
Otros nombres | James Tissot |
Ocupación | pintor , ilustrador , artista |
Vida temprana
Jacques Tissot nació en la ciudad de Nantes en Francia y pasó su primera infancia allí. Su padre, Marcel Théodore Tissot, era un exitoso comerciante de cortinas. Su madre, Marie Durand, ayudó a su esposo en el negocio familiar y diseñó sombreros. Católica devota, la madre de Tissot inculcó la devoción piadosa en el futuro artista desde una edad muy temprana. La juventud de Tissot que pasó en Nantes probablemente contribuyó a su frecuente representación de embarcaciones y barcos en sus obras posteriores. Se cree que la participación de sus padres en la industria de la moda influyó en su estilo de pintura, ya que describió la ropa femenina con todo lujo de detalles. Cuando Tissot tenía 17 años, supo que quería dedicarse a la pintura como carrera. Su padre se opuso a esto, prefiriendo que su hijo siguiera una profesión comercial, pero el joven Tissot ganó el apoyo de su madre para su vocación elegida. Alrededor de este tiempo, comenzó a usar el nombre de pila de James. En 1854 se le conocía comúnmente como James Tissot; es posible que lo haya adoptado debido a su creciente interés por todo lo inglés. [1]
Carrera temprana
En 1856 o 1857, Tissot viajó a París para seguir una educación en arte. Mientras vivía con un amigo de su madre, el pintor Elie Delaunay , Tissot se matriculó en la Ecole des Beaux-Arts para estudiar en los estudios de Hippolyte Flandrin y Louis Lamothe . [2] Ambos fueron pintores lioneses de éxito que se trasladaron a París para estudiar con Jean-Auguste-Dominique Ingres . Lamothe proporcionó la mayor parte de la educación de estudio de Tissot, y el joven artista estudió por su cuenta copiando obras en el Louvre , al igual que la mayoría de los demás artistas de la época en sus primeros años. Por esta época, Tissot también conoció al estadounidense James McNeill Whistler y a los pintores franceses Edgar Degas (que también había sido alumno de Lamothe y amigo de Delaunay) y Édouard Manet . [1]
En 1859, Tissot expuso en el Salón de París por primera vez. Mostró cinco pinturas de escenas de la Edad Media , muchas de las cuales representan escenas del Fausto de Goethe . [3] Estas obras muestran la influencia en su obra del pintor belga Henri Leys ( Jan August Hendrik Leys ), a quien Tissot había conocido en Amberes ese mismo año. Otras influencias incluyen las obras de los pintores alemanes Peter von Cornelius y Moritz Retzsch . Después de que Tissot hubiera expuesto por primera vez en el Salón y antes de que le concedieran una medalla, el gobierno francés pagó 5.000 francos por su representación de La reunión de Fausto y Margarita en 1860, y la pintura se exhibió en el Salón al año siguiente, junto con un retrato y otras pinturas. [1]
Carrera madura
Émile Péreire supplied Tissot's painting Walk in the Snow for the 1862 international exhibition in London; the next year three paintings by Tissot were displayed at the London gallery of Ernest Gambart.[1]
In about 1863, Tissot suddenly shifted his focus from the medieval style to the depiction of modern life through portraits. During this period, Tissot gained high critical acclaim, and quickly became a success as an artist. Like contemporaries such as Alfred Stevens and Claude Monet, Tissot also explored japonisme, including Japanese objects and costumes in his pictures and expressing style influence. Degas painted a portrait of Tissot from these years (Metropolitan Museum of Art, New York), in which he is sitting below a Japanese screen hanging on the wall.[4]
Tissot fought in the Franco-Prussian War as part of the improvised defence of Paris, joining two companies of the Garde Nationale and later as part of the Paris Commune. His 1870 painting La Partie Carrée (The Foursome) evoked the period of the French revolution.[5] Either because of the radical political associations related to the Paris Commune (which he was believed to have joined mostly to protect his own belongings rather than for shared ideology), or because of better opportunities, he left Paris for London in 1871.[6] During this period, Seymour Haden helped him to learn etching techniques.[7] Having already worked as a caricaturist for Thomas Gibson Bowles, the owner of the magazine Vanity Fair, as well as exhibited at the Royal Academy, Tissot arrived with established social and artistic connections in London.[8][9] Tissot used the name Coïdé in Vanity Fair from 1869 to 1873.[10]
Tissot quickly developed his reputation as a painter of elegantly dressed women shown in scenes of fashionable life. By 1872 Tissot had bought a house in St John's Wood, an area of London very popular with artists at the time. According to The Oxford Dictionary of Art and Artists, "in 1874 Edmond de Goncourt wrote sarcastically that he had 'a studio with a waiting room where, at all times, there is iced champagne at the disposal of visitors'".[11]
He gained membership of The Arts Club in 1873.[1]
Paintings by Tissot appealed greatly to wealthy British industrialists during the second half of the 19th century. During 1872 he earned 94,515 francs, an income normally only enjoyed by those in the echelons of the upper classes.[1]
In 1874, Degas asked him to join them in the first exhibition organized by the artists who became known as the Impressionists, but Tissot refused. He continued to be close to these artists, however. Berthe Morisot visited him in London in 1874, and he travelled to Venice with Édouard Manet at about the same time. He regularly saw Whistler, who influenced Tissot's Thames river scenes.[1]
In 1875–76, Tissot met Kathleen Newton, a divorcee who became the painter's companion and frequent model. He composed an etching of her in 1876 entitled Portrait of Mrs N., more commonly titled La frileuse.[1] She gave birth to a son, Cecil George Newton in 1876, who is believed to be Tissot's son. She moved into Tissot's household in St. John's Wood in 1876 and lived with him until her death in the late stages of consumption in 1882. Tissot frequently referred to these years with Newton as the happiest of his life, a time when he was able to live out his dream of a family life.[6]
After Kathleen Newton's death, Tissot returned to Paris. A major exhibition of his work took place in 1885 at the Galerie Sedelmeyer, where he showed 15 large paintings in a series called La Femme à Paris. Unlike the genre scenes of fashionable women he painted in London, these paintings represent different types and classes of women, shown in professional and social scenes.[1] The works also show the widespread influence of Japanese prints, as he used unexpected angles and framing from that tradition. He created a monumental context in the size of the canvases.[12] Tissot was among many Western artists and designers influenced at the time by Japanese art, fashion and aesthetics.[13][14]
In Full Sunlight, circa 1881
On the Thames, 1882[15]
La demoiselle de magasin
The Widower, 1876
A Convalescent, c. 1876
In the conservatory
The Tedious Story, c. 1872
Carrera tardía
In 1885, Tissot had a revival of his Catholic faith, which led him to spend the rest of his life making paintings about Biblical events. Many of his artist friends were skeptical about his conversion, as it conveniently coincided with the French Catholic revival, a reaction against the secular attitude of the French Third Republic.[citation needed] At a time when French artists were working in impressionism, pointillism, and heavy oil washes, Tissot was moving toward realism in his watercolors. To assist in his completion of biblical illustrations, Tissot traveled to the Middle East in 1886, 1889, and 1896 to make studies of the landscape and people. His series of 365 gouache (opaque watercolor) illustrations showing the life of Christ were shown to critical acclaim and enthusiastic audiences in Paris (1894–5), London (1896) and New York (1898–9), before being bought by the Brooklyn Museum in 1900.[16] They were published in a French edition in 1896–7 and in an English one in 1897–8, bringing Tissot vast wealth and fame. During July 1894, Tissot was awarded the Légion d'honneur, France's most prestigious medal.[1] Tissot spent the last years of his life working on paintings of subjects from the Old Testament.[17] Although he never completed the series, he exhibited 80 of these paintings in Paris in 1901 and engravings after them were published in 1904.[6]
The Creation, Jewish Museum (New York), 1896 and 1902
Adam and Eve Driven From Paradise, between 1896 and 1902
The Ark Passes Over the Jordan, between 1896 and 1902
The Seven Trumpets of Jericho, 1896 and 1902
Saint Joseph Seeks a Lodging in Bethlehem
Jesus Found in the Temple
The Baptism of Jesus
Jesus Wept
Our Lord Jesus Christ
Crucifixion, seen from the Cross
The Resurrection
Moses, watercolor circa 1896–1902
Muerte y legado
Tissot died suddenly in Doubs, France, on 8 August 1902, while living in the Château de Buillon, a former abbey which he had inherited from his father in 1888. His grave is in the chapel sited within the grounds of the chateau.[1][6] Widespread use of his illustrations in literature and slides continued after his death with The Life of Christ and The Old Testament becoming the "definitive Bible images". In 1906, filmmaker Alice Guy-Blaché used the Tissot Bible as reference material for her largest production at Gaumont to date, The Passion, creating twenty-five episodes, with approximately three hundred extras. His images provided a foundation for contemporary films such as the design for the Ark of the Covenant in Raiders of the Lost Ark (1981) and lifestyle themes in The Age of Innocence (1993). In the first half of the 20th century, there was a re-kindling of interest in his portraits of fashionable ladies and some fifty years later, these were achieving record prices.[1]
Galería
Tissot in 1898 (detail of a self-portrait on silk).
Hide and Seek, 1877
The Ball, 1878
October, 1877
Gentleman in a Railway Carriage, 1872
Chrysanthemums, 1875
Seaside, 1878
Lilacs, 1875
The Fireplace, 1869
An Interesting Story
Holyday, 1876
The Gallery of H.M.S. 'Calcutta' (Portsmouth), 1877
The Captain's Daughter, 1873
Kathleen Newton In An Armchair, 1878
The Garden Bench, 1882
Bad News, 1872
Young Lady in a Boat, 1870
A Passing Storm, 1876
The Thames, 1867
Captain Frederick Gustavus Burnaby, 1870
La partie carrée, 1870
Ball on Shipboard, 1874
La Japonaise au bain, 1864
Mavourneen, Kathleen Newton, 1877
At the Rifle Range, 1869
Women of Paris – The Circus Lover, 1885
Boarding the Yacht, 1873
The Bridesmaid, 1883–1885
Young Ladies Looking at Japanese Objects, 1869
A Woman of Ambition, 1885
Ver también
- Japonism
- List of Orientalist artists
- Orientalism
Referencias
Citations
- ^ a b c d e f g h i j k l Matyjaszkiewicz, Krystyna (2011), "Tissot, Jacques Joseph (1836–1902)", Oxford Dictionary of National Biography, Oxford University Press, retrieved 5 July 2014
- ^ "James Tissot". Tate.
- ^ "Catholic Encyclopedia: James Tissot". newadvent.org.
- ^ "Portrait of James-Jacques-Joseph Tissot".
- ^ "Acquisitions of the month: December 2018". Apollo Magazine.
- ^ a b c d Misfeldt, Willard E., "Tissot, James", Grove Art Online, Oxford Art Online, Oxford University Press, retrieved 5 July 2014
- ^ Chisholm, Hugh, ed. (1911). . Encyclopædia Britannica. 26 (11th ed.). Cambridge University Press. pp. 1015–1016.
- ^ "James Tissot: Tea (1998.170) – Heilbrunn Timeline of Art History". The Metropolitan Museum of Art.
- ^ Roy T. Matthews; Peter Mellini (1982). In "Vanity Fair". University of California Press. p. 32. ISBN 978-0-85967-597-0.
- ^ "Coïdé". ChrisBeetles.com.
- ^ 26 artworks by or after James Tissot, Art UK: see extended Oxford Dictionary of Art and Artists biography, under "artist profile"
- ^ By Jules Claretie in his book L'Art français en 1872 and by Philippe Burty (1830–1890) in Japonisme III: La Renaissance littéraire et artistique
- ^ "Définition japonisme et traduction". Le Dictionnaire. Retrieved 5 June 2014.
- ^ "Japonism". Dictionary.com. Retrieved 5 June 2014.
- ^ "On the Thames". The Athenaeum. Retrieved 5 July 2014.
- ^ Brooklyn Museum. "James Tissot". Retrieved 3 May 2011.
- ^ Jewish Museum. "James Tissot". Archived from the original on 18 September 2012.
General sources
- Biography of Tissot with recent information on Kathleen Newton
- Misfeldt, Willard E. "Tissot, James [Jacques-Joseph]" in Oxford Art Online.
- Wentworth, Michael. "James Tissot." Oxford: Clarendon Press, 1984. Print
- Wood, Christopher. "Tissot: Life and Work of Jacques Joseph Tissot 1836–1902." London: Weidenfeld and Nicolson, 1986. Print.
- This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Tissot, James Joseph Jacques". Encyclopædia Britannica. 26 (11th ed.). Cambridge University Press.
enlaces externos
- 209 works by James Tissot at www.JamesTissot.org
- James Tissot: The Life Of Christ. Exhibition at Brooklyn Museum 2009
- Commentary on Tissot's etching of Kathleen Newton
- Commentary on a portrait of Mrs. Newton
- Zimmer, Bill (31 October 1999). "Art; Love and History, Lavishly Elegant". New York Times. Retrieved 6 August 2008.
- Biblical art by James Tissot
- Degas: The Artist's Mind, exhibition catalog from The Metropolitan Museum of Art fully available online as PDF, which contains material on James Tissot (see index)