A Dama de Honra (The Bridesmaid) - James Jacques Joseph Tissot
Leeds Art Gallery Leeds Inglaterra
OST - 1883-1885
'The
Bridesmaid' (1883-85), is a painting depicting a social event which were the
hallmark of Tissot. A beautiful young women is pictured flirting with the
groomsman, their attraction for each other taking over the moment as they
appear oblivious to all those around them.
The scene from
a middle class wedding, typical of the social circles in which Tissot would
live in both London and Paris.
Jacques-Joseph Tissot was born in 1836, in the French seaport of Nantes.
The son of a successful shopkeeper, and devout Roman Catholic, he attended a Jesuit boarding school. His father was unimpressed with the idea of his son becoming an artist, but eventually gave way to his son's chosen career.
In 1856 Tissot went to Paris to train as a painter at the Ecole des Beaux-Arts under Ingres, Flandrin and Lamothe. It was here that the young Tissot met the young James McNiell Whistler, one of the most notable 19th century artists. It was during this time that Tissot became a friend of Impressionist painter Degas. Entirely for the purposes of a publicity stunt, Tissot changed his name with the addition of a Christian name 'James' becoming James Jacques Joseph Tissot.
In 1869 Tissot produced caricatures for Vanity Fair magazine, including a brilliant caricature of Frederic Leighton attending an evening reception.
In 1870 the Franco-Prussian war broke out which saw the defeat of France, and the occupation of Paris. In 1871 Tissot fled to London, England where he took refuge with journalist Thomas Gibson Bowles - the Founder / Editor of Vanity Fair.
Enjoying his new social circle in London, Tissot's oil paintings depicting 'social events' including 'The Bridesmaid' rapidly became very popular.
These paintings also present an interesting record of social life at the time, which was not without controversy.
This was period when the commercially successful were earning more than the aristocrats who had established themselves as patrons of art. The politics of art then, almost a reflection of the modern day, the differences then between artists and establishment - compare this with today and you have a similar situation in many art galleries where art is owned by the public, yet controlled by a few 'sometimes arrogant' council employees who wrongly believe they are in control. When the control starts to move away from them, or it is demonstrated that they have no real power of control, then the only hope they think they have is to castigate that which they do not understand. To all and sundry it smacks of fear, in reality it demonstrates alienation of the real world which they benefit from, but fail to live or understand. Perhaps Ruskin's attacks on Tissot demonstrate this perfectly as he described Tissot's paintings as: "mere painted photographs of vulgar society."
In 1873, Tissot bought the house in St John's Wood where he lived for the rest of his time in London. His popularity in England became the envy of the Parisian painters including Degas.
His popularity was not to last though, he struck up a relationship with Kathleen Newton who was to become his mistress. Kathleen had what was in those days considered a colourful and adulteress past, she became his model and the great love of his life. Yet in his social circles although many men also secretly had a mistress, Tissot lived openly with Kathleen.
This situation forced the painter to choose between his love for Kathleen or his social life. He chose Kathleen.
Tissot's days of fame and popularity were at an end with the conservative social circle, but as in all walks of life, they were not outcasts, merely moving on, they entertained the more liberal artistic friends at their home.
In the late 1870s Kathleen became seriously ill with the great 19th century killer Tuberculosis. Tissot remained devoted to her, but in 1882 the love of his life committed suicide. The devastated Tissot immediately left their home in St Johns Wood and never returned.
Tissot was never to fully recover from his great loss, it is thought that he visited spiritualists in the hope of contacting Kathleen beyond the grave.
He returned to Paris where he continued working, painting social scenes as he had in England.
Tissot died at Buillon on Friday 8th August 1902.
Jacques-Joseph Tissot was born in 1836, in the French seaport of Nantes.
The son of a successful shopkeeper, and devout Roman Catholic, he attended a Jesuit boarding school. His father was unimpressed with the idea of his son becoming an artist, but eventually gave way to his son's chosen career.
In 1856 Tissot went to Paris to train as a painter at the Ecole des Beaux-Arts under Ingres, Flandrin and Lamothe. It was here that the young Tissot met the young James McNiell Whistler, one of the most notable 19th century artists. It was during this time that Tissot became a friend of Impressionist painter Degas. Entirely for the purposes of a publicity stunt, Tissot changed his name with the addition of a Christian name 'James' becoming James Jacques Joseph Tissot.
In 1869 Tissot produced caricatures for Vanity Fair magazine, including a brilliant caricature of Frederic Leighton attending an evening reception.
In 1870 the Franco-Prussian war broke out which saw the defeat of France, and the occupation of Paris. In 1871 Tissot fled to London, England where he took refuge with journalist Thomas Gibson Bowles - the Founder / Editor of Vanity Fair.
Enjoying his new social circle in London, Tissot's oil paintings depicting 'social events' including 'The Bridesmaid' rapidly became very popular.
These paintings also present an interesting record of social life at the time, which was not without controversy.
This was period when the commercially successful were earning more than the aristocrats who had established themselves as patrons of art. The politics of art then, almost a reflection of the modern day, the differences then between artists and establishment - compare this with today and you have a similar situation in many art galleries where art is owned by the public, yet controlled by a few 'sometimes arrogant' council employees who wrongly believe they are in control. When the control starts to move away from them, or it is demonstrated that they have no real power of control, then the only hope they think they have is to castigate that which they do not understand. To all and sundry it smacks of fear, in reality it demonstrates alienation of the real world which they benefit from, but fail to live or understand. Perhaps Ruskin's attacks on Tissot demonstrate this perfectly as he described Tissot's paintings as: "mere painted photographs of vulgar society."
In 1873, Tissot bought the house in St John's Wood where he lived for the rest of his time in London. His popularity in England became the envy of the Parisian painters including Degas.
His popularity was not to last though, he struck up a relationship with Kathleen Newton who was to become his mistress. Kathleen had what was in those days considered a colourful and adulteress past, she became his model and the great love of his life. Yet in his social circles although many men also secretly had a mistress, Tissot lived openly with Kathleen.
This situation forced the painter to choose between his love for Kathleen or his social life. He chose Kathleen.
Tissot's days of fame and popularity were at an end with the conservative social circle, but as in all walks of life, they were not outcasts, merely moving on, they entertained the more liberal artistic friends at their home.
In the late 1870s Kathleen became seriously ill with the great 19th century killer Tuberculosis. Tissot remained devoted to her, but in 1882 the love of his life committed suicide. The devastated Tissot immediately left their home in St Johns Wood and never returned.
Tissot was never to fully recover from his great loss, it is thought that he visited spiritualists in the hope of contacting Kathleen beyond the grave.
He returned to Paris where he continued working, painting social scenes as he had in England.
Tissot died at Buillon on Friday 8th August 1902.
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