Character experience, Joseph Tissot.

Jacob Joseph Tissot (later renamed Joseph Tissot James Jacques Joseph Tissot, French painter, 1836- 1902) is a French painter, sculptor and Glazer, who is famous for his portraits of late Victorian society. Just received religious education, 19 years old went to Paris to study art. 1859 exhibited his works in the salon (the official art exhibition sponsored by the French government) for the first time. His early works were gloomy and dreary. After being transformed into modern genre paintings and fashion portraits, he quickly became famous in the Paris art world. He participated in the Franco-Prussian War (1870 ~ 187 1) and later joined the Paris Commune. After the commune failed, he fled to London (187 1 May), settled in St. John's Wood, London, and began to rebuild his career. During this period, in addition to painting, many etchings, dry portraits and intaglio paintings. At the end of 1870, he became interested in the glazing technology of cloisonne. 1882 165438+ Before his Irish mistress died in 10, he made London his home and occasionally traveled abroad. After returning to Paris, I once tried to restore my former reputation, but it didn't go well. 1885, after a spiritual experience, he decided to draw a portrait of Christ. He visited the Holy Land many times and produced about 350 watercolor paintings with the theme of the New Testament, which were published in two volumes. When he died, he was drawing a series of sketches with the theme of the Old Testament.

183610 June 15 was born in Nantes, a port city in the west of France, with four brothers, Mary Durand from Brittany, France, and Marcel T. Tissot from an Italian family. Tissot's father originally lived in Besancon near the French-Swiss border. He is a successful linen merchant, and his mother and aunt run a hat-making company. Under the influence of the fast-paced lifestyle in the port city, young Joseph Tissot has extraordinary insight into two different things: high fashion and tools related to navigation, which were skillfully integrated into his skills when he painted fashionable women in the background of navigation. Marcel T. Tissot made a lot of money from the linen business, bought Bulun Castle, lived there after retirement, and engaged in collecting shells and other hobbies in his later years.

His father was described as an "old-fashioned Christian" and forced Joseph Tissot to receive religious education. About 1848, he was sent to a church college in Besancon, Ferlande province, and then went to Wines Church in Brittany and Dole, Normandy. In these famous historical cities, he showed his unique artistic talent and liked to devote himself to painting local buildings. Despite his father's blatant opposition, he left his hometown for Paris around 1856, and signed up for a formal training class, which helped him enter the prestigious Paris Academy of Fine Arts. There, he met his alumnus james whistler, and a year later, he exhibited his first work, the portrait of his mother. From 65438 to 0858, he became a student of European pre-Raphael painters lamotte and Findam. Degas was also in the same studio, and they were close friends throughout the1860s. Although Tissot is as keen on modern themes as Degas, after he visited Barron Lisi in Antwerp (Alma Tedema was going to create a series of murals with him), he began to be influenced by another way and began to create historical works (even the antique "Jacob Tissot"), which was very close to Lisi's style, and he was even accused of plagiarism more than once. 1859, France began to worship Britain, and Tissot also adopted its name English culture, which is now "Yam". French sounds like the exotic "Jacob Joseph" from the Anglo-Saxons.

1860, Tissot exhibited five oil paintings, three historical themes and two portraits of women in Paris Salon. 186 1 year, he exhibited six oil paintings in the salon, three of which were based on the stories of Faust and Margaret. Salon critics in the early 1960s criticized his fascination with medieval costumes, and always thought that his works only mechanically imitated Baron Liss' masterpiece.

1862, Tissot went to Italy to collect the wind. In Venice, he began to create a series of oil paintings with the theme of wandering back. In Florence, he wrote a letter to Degas, especially referring to the impressions left by the works of Bei Lini, Kabachu and Mantana. After returning to Paris, he met Dodd, a novelist who lived nearby, and they became good friends. 1863, three of his works were exhibited in the salon. It was probably in the same year that he visited London for the first time, and the information about his early life was disappointing.

1In the mid-1960s, when he was about to enter his thirties, Tissot's style changed, and he began to return to the mainstream of contemporary art. 1864, he exhibited his works at the Royal College of Art in London for the first time, which probably brought him to London (the address of Kensington Hotel was listed in the catalogue of the Royal College of Art, but there was no other evidence that he actually lived there. The work he submitted is a nameless medieval painting. In the same year, he also exhibited two works in the salon in Paris. This is the first time that he has publicly displayed his works with modern themes. Coincidentally, this is also the time when Alma Tedema broke through the medieval style and turned to the theme of ancient Rome. Tissot's new artistic attempt was well received. From then on, he began to be recognized. 1866, two oil paintings he exhibited in Paris Salon won awards, which gave him the right to participate directly without being selected by the judges. Of course, he also received economic rewards. When Tissot effortlessly took off his medieval shirt and began to create works with modern themes, the stunned Degas was obviously a little jealous. By 1867, Tissot had enough financial resources to buy a mansion with a studio at No.64, L 'IMPE La Terreis (later renamed as Rue Su boulogne). He lived there for four years and never sold his house until his death.

Perhaps inspired by Goncourt's naturalistic works during the French ruling cabinet period (1795-99), 1868 Tissot began to create short-term genre paintings depicting men and women dressed in costumes in the late 8th century, as well as painting art that seemed wrong when the war broke out. The relationship between Tissot and Britain was also affected in the late1860s. Entrusted by Vanity Fair magazine, 1869 went to Britain to study comics. Two artists whose pen names are "Carlo Pigligny" and "Leslie Wade" regularly describe outstanding people in a humorous way for the magazine. In the next eight years, Tissot (pen name "Coyd for no reason") joined them and created 62 cartoons. Among them, the first one is some foreign heads of state, probably the result of studying the European continent. But when he moved to London, unlike painters Frederic Leighton and Charles Darwin, his subjects were all English. Thomas Bowles, founder and editor of Vanity Fair, became a close friend of Tissot. 1870, he was entrusted to paint a portrait for the warrior and adventurer Frederick Bonabet. This work has achieved great success, and other important and beneficial tasks have followed.

After the Prussian War broke out in France, when many art colleagues took refuge in Britain because of their political inclinations, Tissot stayed in France to join the National Guard and got to know Bowles, then a war correspondent for the Morning Post. He let Bowles live in his home, and when he was surrounded in Paris, he risked his life with Bowles. Tissot created a series of illustrations of military figures for Bowles' manuscript. 187 1 year, Defending Paris: A Record of the Battlefield was published in London.

187 1 year, after the fall of Paris, Tissot stayed and had something to do with the commune. Whether the real motive of his intervention is out of deep sympathy or personal interest is still unknown, but it turns out that this is a wrong political tendency, for which Degas and other friends will never forgive him. When the Paris Commune collapsed, he flew to London, and his early warm reception to Bowles was rewarded. Bowles let Tissot live in his own home, the cliff apartment near Hyde Park. In Tissot, London, he started to create illustrations for Vanity Fair again, and drew 22 cartoons from July to 65438+February.

From some of his correspondence with Degas from 187 1 to 1874, we know that Tissot began to succeed in London and is famous for its keen business sense (painter John Singer Sargent called him a "business genius"), and his works are very expensive. At that time, he began to contact some writers. From the works published by his friend, we can find something about his humanity. It can be inferred from degas's portraits of him that Tissot is well-dressed, and several writers have specifically mentioned his concern for appearance. He is also a person who knows how to improve himself. Edmund de Goncourt once commented exaggeratedly in 1874: "Isn't this pioneer of English idiots his idea?" A studio with a lounge is surrounded by a garden, where visitors can enjoy chilled champagne at any time, and a footman in stockings wipes the leaves of shrubs all day. Louis Joplin, a British artist, mentioned with emotion: "Tissot is a charming man, very handsome, just like Duke Tank ... He is well dressed, and no artist cares more about his clothes and manners than he does. "1890, Edmund de Goncourt once again wrote Tissot," ... this complicated man is a combination of mystery and affectation. He is extremely clever, with a unique head and eyes like a dead fish. He is full of passion and has new interests every two to three years. To this end, he can renew a short lease with life. " Other writers have similar comments. His vigorous energy prompted him to quickly accept new passions and grafted new branches of his artistic skills, from etching prints to enamel to photography. In his later years, he even engaged in archaeological work. Like the chameleon, Tissot has been exploring new artistic styles in his artistic career, from historical genre painting inspired by Reese to pre-Raphael, Impressionism and modern realism, until the highest realm of religious art.

The friendship between Tissot and Bowles has been deepening, and there is no doubt that this well-connected publisher has opened countless doors for him to enter London society. After describing the dialogue scene in the18th century, Tissot associated his painting theme with the Thames and ships. This may be influenced by Whistler. Whistler was a close friend of Tissot throughout the1870s, and he described the Thames and the bridges over it more than once in his works. Tissot's typical feature is the woman in the painting, so he is called "Hua Tuo of Wang Ping".

/kloc-in the spring of 0/872, Tissot moved to 73 Springfield Street, St. John's Wood. 1873, moved to geerlov intersection 17 (later changed to No.34), and lived here for about ten years. The house was built on the land of a monastery in the18th century. The nearby road is called Abbey Road. This place is famous for its senior mistresses and concubines. It is said that there are lush trees on both sides of the path leading to the villa here, so that those tourists can avoid the sight of their neighbors after getting off the carriage. Here, Tissot built his own studio and built a spectacular colonnade imitating Monso Park in the garden (Alma Tedema once wrote in his own works). In the same year, he exhibited his first British social work "Too Early" and "A Long Daughter" at the Royal Academy of Art. 1874, the first impressionist painting exhibition of great significance in the history of art opened. Tissot often returned to Paris and received an invitation from Degas, but he still refused to attend. Although he refused to become an impressionist painter, he still became good friends with many members of the movement. Berthe morisot visited him in London to congratulate him on his success. 1875, Tissot and MANET visited Venice together, and he also got MANET's masterpiece Blue Venice.

Then Tissot's most controversial and ideological period began, which brought a unique romantic artistic conception to his life and works. About 1876 or earlier, he began to have an affair with a lady whose identity is still shrouded in mystery after more than half a century-she has always been mentioned as a mysterious figure. Many details are still uncomfortably vague, but it is obvious that he first met the known Mrs. Newton in St. John's Wood, when she lived in the home of her married sister Mary Harvey. 1854, Catherine Kelly was born in Bonn, Catherine Eileen Ashm, Kathryn Newton. Her father, charles kelley, was an ordinary employee of the British East India Company, and later became the CEO of Alderney Gap Island. /kloc-When she was 0/6 years old, she went to India to visit her brother Frederick-maybe it was arranged in advance. Shortly after her arrival, she married a widower, isaac newton, who was a surgeon of the Indian Municipal Service Bureau. On the ship, she had a brief love affair with Captain Paris. Nevertheless, she married Newton in 187 1. A week after marriage, her affair with Paris was exposed and she left Newton. Soon, her relationship with Paris broke down and she returned to England. Because of adultery, Newton filed a divorce lawsuit, which was granted at the end of the year. On February 20th, her daughter muriel Mary violette was born in Cosbro, Yorkshire. According to her, the father of the child is Captain Paris. 1876 In March, her second child, Cecil George, was born in her sister's house. This time, Kathryn Newton strangely claimed that Cecil was the descendant of her ex-husband, but some people speculated that Tissot was the father of the child (Tissot left little legacy to the child, which is still a mystery). In the next five years, Tissot and Kathryn Newton lived at the intersection of Gellov. The two children grew up together in their menstrual home and often went to Tissot's home to become his painting objects. Although some writers, including Sitwell Stephen, suggest that this will be a dying marriage, it is obvious that they can't get married. Tissot and Kathleen are both Catholics, so it is possible that Kathleen cannot accept the legality of divorce.

Even in France, this is hard to accept. At that time, many artists had mistresses, but they rarely lived together openly, let alone depicted them in their works. Tissot regards Kathryn Newton as its main model and muse. After spending six years with a widow with two children and displaying it on the wall of the gallery, he found himself quickly abandoned by his target customers. Originally a natural social expert, he became an unpopular person and was regarded as a social hooligan in some places. He stopped inviting friends to his home for fear that they would feel embarrassed in front of such a sinful couple. Of course, those bohemian partners who sympathize with him are still welcome. He became a loner, rarely participated in exhibitions and began to paint more private home scenes. Many works are idealized images of Mrs Newton and her children. He also began to create other works of art besides oil paintings, such as exquisite cloisonne enamel, brass and bronze vases, and other objects decorated with enamel, some of which were created on the basis of oil paintings, and also created a number of etching prints. Between 1876 and 1886, he created more than 80 prints, many of which were based on his oil paintings, and most of them were commercially successful.

After living with Kathryn Newton, Tissot stopped exhibiting at the Royal Academy of Art until 188 1, although he still exhibited at the newly opened grosvenor Gallery from 1877 to 1879. 1877, he exhibited ten oil paintings in grosvenor Gallery, as well as Whistler, neo-classical painters Alma Tedema, Leiden and Point, and Edward Burne Jones and Millay of Laveur Preschool School. John ruskin's criticism of this exhibition is famous for two points. First, his comments on Tissot's works, "Their wit and cleverness often make the audience forget their rigor ... Unfortunately, most of the works are just color photos of vulgar society" (although he modestly appreciates Tissot's Challenge and satirizes the first work in the series of Victory of Will); Then he attacked Whistler, "... I never want to hear a guy throw more than 200 guineas into a can of paint on a public face." Whistler thinks Ruskin looks down on them, and he hopes to unite Tissot and make Tissot a witness against Ruskin (Whistler won and got a ridiculous compensation). Whistler ended their long-term friendship because Tissot refused. This is not the only incident in which Tissot is not good at dealing with friendship. When he sold the painting that Degas gave him, their friendship was also broken.

1In May, 882, Dudley Gallery in London exhibited four paintings of Tissot's "Prodigal Son in Modern Life" series, as well as photographic comments on his works since 1859. At the end of the month, Tissot visited the Gungur brothers to discuss the illustrations of their work Rene Mopland. Several of the ten prints were copied from the photos of himself and Kathleen. At that time, she was diagnosed with tuberculosis and her condition gradually deteriorated. Their activities are often criticized. Her seclusion has caused many far-fetched legends. Some people say Tissot locked her up and became a prisoner of her family. She finally died on1882165438+1October 9. Within a week, Tissot went crazy, abandoned his house, pushed the painting materials to the ground and returned to France. Rumors about Kathryn Newton's life and death have been going on for more than 50 years (for example, Arnold barnett recorded a fictional story in her diary, and she committed suicide when she received a letter from Tissot to break up relations). For a long time, Tissot could not accept her departure, and her constant appearance in his works confirmed his despair and yearning. The house and its memory deeply hurt Tissot, and he never went back. Alma Tedema bought it and decorated it in a luxurious Pompeii style.

During 1883, Tissot held a solo exhibition at the Palais des Industries in Paris. The exhibits include oil paintings, sketches, more important prints and cloisonne enamel created in London for ten years. Although he was not famous for watercolor painting at this time, he exhibited with the French Watercolor Association in the same year and the following year.

Tissot's desire for Mrs Newton didn't stop his interest in other women. It is said that he once pursued a tightrope walker in his work Acrobatics. There are also rumors that he plans to marry Louisa Ressenna, the daughter of painter Luis Ressenna. Edmund de Goncourt recorded that he added a floor to his home in Paris in order to marry Miss Rensena, but she finally turned him down. Mrs. Newton's soul continued to follow him (a little literary) At the beginning of 1885, Tissot met professional wizard William Ellington, and participated in Ellington's demon conquest on May 20th. Ellington's biographer said that the soul guide Ernest accompanied Mrs Newton's soul into Tissot's spiritual world. During the meeting, they kissed several times under the irradiation of Ernest's ghost torch. Then she shook hands with Tissot and disappeared. There is no doubt that Ellington is just a liar, but Tissot regards him as a god, so he created "The Appearance of the Spiritual World" (later lost, people only know prints) as a record of this scene. He also drew an illustration for Ellington's biography, "The Meeting of Two Worlds".

Two years before Tissot returned to Paris, he created a series of oil paintings, which were exhibited in Sildemeyer Gallery from April to June, 1885, and in Tus Gallery in London the following year. This series of works is planned to be published in etched edition, and the manuscript will be created by famous French writers including Zola and Mo Bosang. These are Tissot's last works as an upper-class painter, because it led Tissot into a completely different version of life. When he started painting the last work in this series, he asked his female model to sing hymns in the church of Surbis. There, he drew illustrations of Jesus' life. Tissot later claimed that Jesus had brought it into the final stage of his artistic career, and then he drew a sketch of the illustrated Bible. This new attempt is consistent with his evaluation of his life. After Mrs Newton left, he dabbled in witchcraft and other religious worship. Cynical observers pointed out that his obsession coincided with the religious fanaticism and Catholic revival in the1880s and1890s. Tissot, who began to accept religion, is of course lucky to benefit from this trend.

Tissot's goal is to show the original scene of the Bible, not as imagined by artists from generation to generation. So in 1886, on his 50th birthday, he went to Palestine and began to create watercolor illustrations for Jesus' life, and used photography extensively as reference materials. /kloc-0 returned to Paris in March, 887, and/kloc-0 visited the Middle East again in August, 889. In the same year, he won the gold medal of the Paris World Expo, and another group of his "spiritual" works, The Prodigal Son in Modern Life, was exhibited and was permanently collected by the Luxembourg Museum. However, Tissot did not completely give up his worldly interests. In the early 1890 s, he painted portraits of the actor rigani.

From 65438 to 0894, The Life of Jesus, which lasted for eight years, had 290 illustrations, most of which were exhibited in the Ares Salon. 1895, he exhibited all 365 works in Paris, 1896 in London. During the period of 1896-97, this commemorative project was published by Mamtuls company and has been selling well. Two volumes of English versions of the life of our Savior Jesus, 1897 and 1898, were translated by Arthur Bell and presented to former British Prime Minister William gladstone. Those watercolors were successfully exhibited in North new york on 1898-99, and were collected by Brooklyn Museum on 1900, and have been preserved ever since.

For modern people, Tissot's religious illustrations are not very attractive, but for those who are familiar with his early works, such works are incredible. However, for those who don't know his early career, this is a new discovery appreciated by religious organizations and parishioners. Tissot's achievements were officially recognized when he wrote The Templar of Ancient Rome. This "genius businessman" earned 6.5438+0.000 francs only by the copyright of the French version of The Biography of Jesus, 6.5438+0.0000 dollars in North America and 60,000 dollars by selling the original to Brooklyn Museum.

Although these images appeared in the later period of Tissot's artistic career, they were not the final works. 1896, Plane appointed British illustrator Jacob Hood to interview the artists of the first modern Olympic Games in Athens. On impulse, he got on the wrong boat and went to Egypt. During the trip, he wrote, "A very interesting traveler, with gray sideburns and neat clothes, often appears on the deck with gloves on, as if he were going on the road." He is, Jacob Hood finally recalled, "Joseph Tissot, he will go back to Palestine to continue his wonderful series of illustrations of the Bible, for which he devoted the rest of his life." At the age of 60, after successfully illustrating the life of Jesus, Tissot began another ambitious project, sketching the Old Testament (preserved in the Jewish Museum in new york), and he exhibited 80 works created for the first four volumes in Paris. From 1897 to 1902, Tissot lived in seclusion in the Builon Castle inherited from his father and his home in Paris (in fact, there were frequent visitors, including Alma Tedemar who later went to London to see the renovation of his old house by Alma Tedemar). He continued to sketch the Old Testament, but in the middle of his creation (he planned to create 400 pieces), he died in August of 1902 and was buried in the chapel in the castle. The Old Testament, which was subsequently completed by other artists, was published in 1904.