hansolocareer:

Melodrama /// Paintings

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via-appia:

Young Lady in a Boat, 1870

James Tissot (1836–1902)

Previously blogged about here.

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thegetty:

White and gold? Or blue and black?

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thegetty:

Decadence barely begins to describe this portrait by Jacques Joseph Tissot.

Loaded with signifiers of wealth, heritage and worldliness, this painting has more than a few juicy details. 

Zoom in and let your eye wander.

Portrait of the Marquise de Miramon, née, Thérèse Feuillant, 1866, Jacques Joseph Tissot. J. Paul Getty Museum.

I can’t believe I missed this one during my Getty visit a few months ago. Maybe it wasn’t on display?

Back to the Getty!

Reposted from http://lies.tumblr.com/post/60273214696.

jumperandscarf:

Young ladies admiring Japanese objects 

James Tissot

As I previously mentioned, I loved seeing the middle of these three paintings at the Getty Museum in L.A. several months ago. Tissot painted all three paintings in 1869. They were among the last he did in Paris. Within two years he had fled Paris for London, renamed himself from Jacques to James, and met and begun painting Kathleen Newton.

More about Tissot’s use of Japanese art and objects to promote himself during the late Paris years is in this blog post by Lucy Pacquette: James Tissot’s brilliant marketing tool, 1869.

Pacquette has written a book, The Hammock: A novel based on the true story of French painter James Tissot. Guess what I’m downloading to my e-reader as we speak?

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chicago-reader:

We teamed up with the Sun-Times to help out with your weekend Agenda. We’re thinking art and apple picking.

So, I’ve started reading Patricia O’Reilly’s fictionalized biography of Kathleen Newton, A Type of Beauty. Stylistically it’s a bit flowery for my taste, but I’ve only just started. Maybe it will grow on me.

I kind of love the wide gulf between O’Reilly’s version of Newton’s early life, and in particular of her “fall”, and the version offered in this video, which talks about Newton while discussing the Tissot exhibit currently at the Art Institute of Chicago. The video’s version of Newton’s life is more salacious, which is probably unsurprising; it makes a better story, after all.

O’Reilly was the person responsible for much of Newton’s Wikipedia article. That article arguably crosses the line into what Wikipedia editors would disparagingly refer to as “original research”, but as a dyed-in-the-wool inclusionist I have a hard time faulting O’Reilly for that.

When I look at Tissot’s portraits of Newton, I’m necessarily looking through the eyes of love. It’s hard not to feel sympathetic, given the events of Newton’s life, however they might be spun. And the spin matters. In her calm, unapologetic gaze there’s a response to the Victorian slut-shaming she endured, and a challenge: To consider her not as a symbol, not as a morality tale, but as a person, one who made her way the best she could, given the forces beyond her control that shaped her life.

I liked this article about Newton from the Chicago Reader: James Tissot’s tragic muse.

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the-faces-of-art:

james tissot, summer, 1878 (x)

I still need to read Patricia O’Reilly’s semi-fictionalized biography of Kathleen Newton. It arrived a few months ago; it’s sitting in the cubby of the bedside table at home, waiting for me to take a break from Tumblr and reading Jane Eyre via the Kindle app so I can read an actual book.

Books are patient that way. I like that about books.

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moika-palace:

Young Women Looking at Japanese Objects, James Tissot, ca. 1869.

These ladies were all over the “#japanese objects” tag back in 1869.

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emmadelosnardos:

tierradentro:

“Young Lady In a Boat”, 1870, James Tissot. (via)

This young lady looks a lot like Kathleen Newton, who was Tissot’s mistress and frequent model during the peak of his London portrait painting years. But she can’t be, because “Young Lady in a Boat” was exhibited at the 1870 Paris Salon, before Tissot moved to London. In 1870, the then-16-year-old Kathleen Newton was travelling to and from India, experiencing the (actually kind of horrible) events that shaped the subsequent course of her life, and she hadn’t yet met Tissot.

So the model isn’t Newton, and I guess the similarity must be due to Tissot’s aesthetic ideal of female beauty. He may have sought out models with a particular look, or adjusted their features to match his ideal when he painted them, with the result that this painting looks remarkably like the different woman who later became his muse.

I don’t know where this painting currently resides; one mention just says “private collection”. The National Gallery of Canada has this pencil study:

This drawing of an elegant courtesan captured in a relaxed pose is a study for “Young Lady in a Boat”, a painting that Jacques Joseph Tissot (known as James Tissot) showed at the 1870 Salon. The artist uses a flowing line to render the young woman’s full skirt, and devotes particular attention to his subject’s face, propped on a slender hand, the little finger touching the corner of her mouth. Tissot’s paintings were admired – and criticized – under Napoleon III for their hyper realistic and attractive, one might say seductive, depictions of modern life, in a style suggestive of the eighteenth century.

I’ve ordered a copy of Patricia O’Reilly’s fictionalized biography of Kathleen Newton, A Type of Beauty, and I’m also going to spend some time looking through the chronological list of Tissot paintings at WikiPaintings. But I don’t suppose I’ll ever be able to learn much about the “elegant courtesan” who was the subject of “Young Lady in a Boat”.

Note: Tagged for Kylie because look: It’s a famous painting of a pug!

Reposted from http://lies.tumblr.com/post/44336058322.

When I visited the Getty yesterday this James Tissot painting was one of the first things that caught my eye. I liked how it depicted the two young women doing exactly what I was doing (though I wasn’t as nicely dressed).

Text from the Getty placard:

Young Ladies Admiring Japanese Objects (1869)

James Tissot (French, 1836-1902)

Oil on canvas

Wearing sumptuously tailored dresses, these well-to-do young ladies lean in to admire a Japanese statuette of a warrior. During the mid-1800s in Paris, collecting and appreciating Japanese decorative arts was a central leisure-time pursuit of the upper middle class. Tissot avidly enjoyed this practice himself, and he depicted objects from his own collection here. Several critics remarked on the contemporary character of this work (or another of the painting’s three versions) when it was exhibited at the Paris Salon in 1869.

Lent by a private collector.

[me again]

In 1869 Tissot had been painting in this style for six years, and had become one of the most successful portrait artists in Paris. He couldn’t have known it, but a year later he would be fighting in the Franco-Prussian war, and after France’s defeat would be relocating to London, where he spent the next 11 years.

I think about that when I look at this painting. I imagine Tissot lost in the reverie of these young ladies, their geeky absorption mirroring his own obsessive interest, and in turn mirroring my own. When I geek out about something, lose myself in it, I don’t worry about the future. Just like Tissot.

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victorianmelody:

Les Secrets.

Reblogging myself to add the source: This is The Gallery of H.M.S. Calcutta (Portsmouth) by James Tissot, painted in 1877 or thereabouts.

I liked it when it came through my dash the first time, so I reblogged it then, but didn’t research it further. But yesterday I went to the Getty in L.A. with my wife, my son, and our friend Joanie, and among the paintings that really struck me there was one by Tissot. In looking up more information on the artist I spotted a thumbnail of this painting and remembered reblogging it.

Small world! Or at least, it is when you’re interested in 19th century paintings of fancy dresses and boats.

Reposted from http://lies.tumblr.com/post/43401683121.