James Jacques Joseph Tissot Art

Medium: original etching. Executed by Tissot for the "Rene Mauperin" suite of etchings, published in Paris in 1884 by Charpentier in a limited edition of 550. This is a nice impressi...

Medium: original etching. Executed by Tissot for the "Rene Mauperin" suite of etchings, published in Paris in 1884 by Charpentier in a limited edition of 550. This is a nice impressi...

L'enfant prodigue: en pays etranger (The Prodigal Son: In Foreign Climes) Etching, 1881 Unsigned (as usual for this state) From: L'enfant prodigue, (The Prodigal Son, five plates) Ed...

Medium: original etching. Executed by Tissot for the "Rene Mauperin" suite of etchings, published in Paris in 1884 by Charpentier in a limited editio...

Medium: original etching. Executed by Tissot for the "Rene Mauperin" suite of etchings, published in Paris in 1884 by Charpentier in a limited editio...

Medium: original etching. Executed by Tissot for the "Rene Mauperin" suite of etchings, published in Paris in 1884 by Charpentier in a limited editio...

Renée Mauperin; Ten Etchings, Complete Set for the Illustrations to the Novel by Edmond and Jules de Goncourt 1882 Paris: G. Charpentier et Cie, 1882-1884. The complete set of ten ...

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...

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...

Le Matin (Morning) Mezzotint, 1886 Signed and dated in the plate (see photos) Edition: at least 650 impressions in both states Reference: Wentworth 82 ii/II P...

Berthe Etching with drypoint, 1883 Signed in the plate (see photo) This etching was inspired by an 1882/3 pastel which the artist included in his ambitious "Femme a Paris" exhibition at Galerie Sedelmeyer, Paris, in 1885. Reference: Beraldi 65 Wentworth 74, published state Tissot 76 Condition: Excellent Plate/Image size: 14 1/4 x 11 inches Sheet size: 19 1/2 x 15 inches Frame size: 23-1/2 x 20-1/4 inches Donald Morris Gallery, Birmingham, Michigan (Morris had a distinguished collection of Tissot prints...

Au bord de la mer (At the Sea Side) Etching and drypoint, 1880 Signed in the plate middle left edge (see photo) Edition: c. 100 A very rich impression, full of burr and contrasts Pri...

TISSOT, JAMES JACQUES JOSEPH (1836 -1902) L’enfant Prodigue: Frontispice (The Prodigal Son: Frontispiece) Wentworth 57 Etching, c. 1882 Signed and dated in the plate lower rightIma...

TISSOT, JAMES JACQUES JOSEPH (1836 - 1902) "Le Portique de la Galerie Nationale a Londres" (The Portico of the National Gallery, London) Wentworth 40 Etching and Drypoint on imitation Japanese paper, C. 1878 Only state published, from the edition of 100 Signed 1878 J.J. Tissot on the step, lower right 14 7/8” x 8 1/4” Excellent crisp impression This etching is related to the painting London Visitors exhibited at the Royal Academy in 1874, no. 116. The setting is the portico of the National Gallery, looking toward the Church of St. Martin’s-in-the-Fields. Such works give Tissot a minor but distinguished position as a predecessor of the school of architectural etchers...

J.J. Tissot Le Portique de la Galerie Nationale a Londres (The Portico of the National Gallery, London) Wentworth 40 Etching and Drypoint on imitation Japanese paper, C. 1878 Only st...

Suite of Ten etchings and dry-points: • L’Auberge des Trois-Corbeaux. Wentworth 29 (i/iii) • Quarrelling. Wentworth 18 • The Rubens’ Hat. Wentworth 8 • The Thames, Wentworth 20 • Bas...

Le banc de jardin (The Garden Bench). 1883. Mezzotint. Tissot catalog 79, Béraldi catalog 66, Wentworth catalog 75 state ii/iii. 16 1/2 x 22 1/8 (s...

Original drypoint printed in black ink on laid paper bearing a portion of the Van Gelder watermark (fleur-de-lys in a crowned shield surmounting the letters “VGZ”). Signed and dat...