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James Jacques Joseph Tissot
Le banc de jardin (The Garden Bench).

1883

About the Item

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 (sheet 21 1/2 x 28 1/2). Edition about 500 in three states. Printed in brown / black ink on chine appliqué (China paper mounted on stiff wove paper). Signed and titled in the plate. Housed in a silk mat with a gold liner in a 31 1/2 x 36 1/2 x 2-inch burled burled wood frame. This is the mezzotint version of a painting of the same title. The models for the composition were Kathleen Newton, her daughter Violet, her niece Belle, and her son Cecil, seated on a bench in Tissot’s garden in St. John's Wood, London. The stylization of the figures, both in pose and in grouping is a highlight of Tissot’s later style. Le Banc Jardin is one of a small group of mezzotint studies that Tissot made in England between 1883 and 1885. It is characteristic of his facility as a printmaker that his first plate in an extremely difficult medium should be so brilliantly conceived and executed. The quality of inner glowing light and the richness in the combination of blacks and the pattern highlights are striking. The contrast of textures -- the fur rug, the silk of the dresses, and the foliage beyond -- are a tour-de-force of printmaking. Tissot learned the rudiments of printmaking in the 1860s, greatly influenced by Whistler, whom he met in 1859, as well as Degas, Legros and Seymour Haden. Tissot's most productive period as an etcher was during his English period (1871-1882) when he was settled in London as a consequence of being branded a communard after the Franco-Prussian War. The subject-matter of Tissot's eighty-eight etchings often relates closely to that of his paintings, chronicling the elegant, leisured life of his epoch. Unlike the work of Whistler and Degas, for example, Tissot's etchings were always intended as accurate and finished transcriptions of his paintings rather than as experimental works in an alternative medium. As Michael Justin Wentworth, author of the catalogue raisonne of Tissot's prints, has written: "Tissot was conservative and always kept the finish expected at the Salon and the Academy…But in the iconography and the troubled psychology of his pictures he comes into his own". After the death of Tissot's London mistress and muse, Mrs Newton, the artist ceased to etch and returned to France.
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