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An original drypoint and etching printed in black ink on laid Japan paper, signed and dated in the plate lower right J.J. Tissot / 1876. This is a richly printed impression of the definitive state showing touches of burr throughout, from the edition of approximately 100. Catalogue reference: Tissot 18; Béraldi 17; Wentworth 24.
Tissot was tied to Whistler and Degas and influenced by the highly detailed and polished style of Belgian academic painter Baron Hendryk Leys. Tissot refused to classify himself as an Impressionist and declined to exhibit with them, although he was close friends with both Morisot and Manet.
After France's war with Prussia, Tissot moved to London, where he began to focus on themes of ‘modern life,’ with scenes of the Thames, streets and parks, and his home and gardens. When Tissot fell in love with a divorced Irishwoman, Kathleen Newton, in 1876, his art took an abrupt turn that coincided with his return to etching. This was most likely due to the influence of Whistler’s etchings and the encouragement of Seymour Haden, who with the printer Delatre, had a profound influence on Tissot’s etching style.
Many of Tissot’s etchings are derived from his paintings. However, he saw etching as a total art form in and of itself. His eye for pose, gesture, rich materials, and emotional drama are brought together in a combination of line and ink which makes them amongst the most striking and absorbing prints of their genre.
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