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James TissotQuerelle d'amoureux. (Quarreling). 11881
1881
About the Item
En plein soleil. (In the Sunlight). 1881. Etching and drypoint. Tissot 54, Béraldi 45, Wentworth 54. 7 13/16 x 11 1/2 (sheet 11 1/4 x 15). Edition about 100. Mat line and two hinge stains on the upper sheet corners, well outside the image. A rich impression with plate tone printed on laid paper. The plate was included in A portfolio of Autograph Etchings, published by James R. Osgood and Co., Boston, 1881. Impressions from this portfolio are signed in pencil and have the artist's red stamp (Lugt 1545). Housed in an archival mat and a classical 17 1/2 x 21 1/2-inch gold Whistler style frame.
Tissot created a composition based on several photographs. Kathleen Newton, in fact, appears twice in the composition; in the foreground, she is sitting by the closed parasol, together with her eldest child Violet (whose father had been Captain Palliser with whom she had her first affair precipitating the divorce from her husband, Dr. Issac Newton). She is seen again in the left background sitting on the low wall with her child Cecil (whose father might have been Tissot). In the middle-ground under the open Japanese parasol lies Lilian Hervey, Kathleen’s sister’s daughter.
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.
- Creator:James Tissot (1836-1902, French)
- Creation Year:1881
- Dimensions:Height: 21 in (53.34 cm)Width: 17 in (43.18 cm)Depth: 0.5 in (1.27 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Storrs, CT
- Reference Number:1stDibs: LU335214237572
James Tissot
James Jacques Joseph Tissot (October 15, 1836 - August 8, 1902) was a French painter. Tissot was born at Nantes. He studied at the Êcole des Beaux-Arts in Paris under Ingres, Flandrin and Lamothe, and exhibited in the Paris Salon for the first time at the age of twenty-three. In 1855 Tissot moved to Paris where he studied under Jules-Élie Delaunay, Louis Lamothe and Hippolyte Flandrin. Lamothe, who had been a pupil of Ingres, introduced him to Edgar Degas. The two men became close friends. Another friendship formed at this time was with James McNeill Whistler. Two portraits, including one of Tissot's mother, were among the artist's first exhibits at the Paris Salon in 1859. In 1861 he showed The Meeting of Faust and Marguerite, which was purchased by the state for the Luxembourg Gallery. His first characteristic period made him a painter of the charms of women. Demi-mondaine would be more accurate as a description of the series of studies that he called La Femme à Paris. Tissot fought in the Franco-Prussian War, and, falling under suspicion as a Communard, left Paris for London. Here he studied etching with Sir Seymour Haden, drew caricatures for Vanity Fair, and painted portraits as well as genre subjects. Sometime in the 1870s Tissot met a divorcée, Mrs. Kathleen Newton, who became his muse and the model for many of his paintings.
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