All James Tissot Oil Paintings

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.
 

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James Tissot A languid Frederick Leighton in Tissot's (nn01) oil on canvas


A languid Frederick Leighton in Tissot's (nn01)
A languid Frederick Leighton in Tissot's (nn01)
Painting ID::  22845
  1872 caricature from Vanity Fair
  1872 caricature from Vanity Fair

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James Tissot A Convalescent (nn01) oil on canvas


A Convalescent (nn01)
A Convalescent (nn01)
Painting ID::  22846
  c 1876 showing the much featured colonnade in Tissot's Garden
  c 1876 showing the much featured colonnade in Tissot's Garden

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James Tissot The Ferry (nn01) oil on canvas


The Ferry (nn01)
The Ferry (nn01)
Painting ID::  22847
  c 1878 Tissot's Photograph of himself with Kathleen Newton and her children was the inspiration for his Waiting for the Ferry
  c 1878 Tissot's Photograph of himself with Kathleen Newton and her children was the inspiration for his Waiting for the Ferry

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James Tissot Pastel Portraits such as Berthe and his La Femme a Paris series represent Tissot's final works before his religious conversion (nn01) oil on canvas


Pastel Portraits such as Berthe and his La Femme a Paris series represent Tissot's final works before his religious conversion (nn01)
Pastel Portraits such as Berthe and his La Femme a Paris series represent Tissot's final works before his religious conversion (nn01)
Painting ID::  22848
  c 1882
  c 1882

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James Tissot Pinted for The Life of Christ (nn01) oil on canvas


Pinted for The Life of Christ (nn01)
Pinted for The Life of Christ (nn01)
Painting ID::  22849
  Tissot's melancholy Portrait of the Pilgrim depicts himself as a religious enthusiast
  Tissot's melancholy Portrait of the Pilgrim depicts himself as a religious enthusiast

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     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.

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