Cover image for James Tissot : Victorian life, modern love
James Tissot : Victorian life, modern love
Marshall, Nancy Rose.
Personal Author:
Publication Information:
New Haven ; London : Yale University Press, 1999.
Physical Description:
208 pages : color illustrations ; 26 cm
General Note:
Published in association with the Yale Center for British Art and the American Federation of Arts.

Published on the occasion of an exhibition held at the Yale Center for British Art, New Haven, Sept. 22-Nov. 28, 1999, at the Musée du Québec, Canada, Dec. 15, 1999-Mar. 12, 2000, and at the Albright-Knox Art Gallery, Buffalo, Mar. 24-July 2, 2000.
Format :


Call Number
Material Type
Home Location
Item Holds
N6853.T47 M37 1999 Adult Non-Fiction Non-Fiction Area
N6853.T47 M37 1999 Adult Non-Fiction Central Closed Stacks
N6853.T47 M37 1999 Adult Non-Fiction Open Shelf
N6853.T47 M37 1999 Adult Non-Fiction Open Shelf
N6853.T47 M37 1999 Adult Non-Fiction Open Shelf
N6853.T47 M37 1999 Adult Non-Fiction Open Shelf
N6853.T47 M37 1999 Adult Non-Fiction Open Shelf

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Fully illustrated and to accompany an exhibition, this book presents more than 100 paintings, prints and watercolours that represent every phase of Tissot's career. The authors explore his themes and interests and consider the influence on his work of Baudelaire's essay on the aesthetics of modernity.

Reviews 2

Library Journal Review

Known for his sumptuous and elegant portrayals of well-turned-out Victorian society, Tissot has not had a scholarly museum exhibition in over 30 years--until now. James Tissot is the catalog accompanying a recent traveling exhibition of this artist's work, curated by Marshall and Warner (of the Yale Center for British Art). Their book portrays Tissot as "the painter of modern life"--in the Baudelairian sense. Although formally conservative in painting technique, they argue, Tissot was one of the best observers of life in the 19th century, focusing on the complex manners and morals of Victorian society. This argument is presented in the introductory essay as well as in the thorough catalog entries of the artist's paintings and prints. The other recent general monograph on the subject of Tissot, Russell Ash's James Tissot (Abrams, 1992), has beautiful plates but is not as strong a book, with very short entries on the paintings and a cursory bibliography. Recommended for art libraries and academic libraries supporting art programs. On a more sophisticated level, Seductive Surfaces is an anthology of essays written by scholars in the fields of art history, literature, and costume history. Applying Marxist and feminist methodology, these interdisciplinary essays examine a range of topics, including the influence of popular print sources such as the fashion plate in Tissot's paintings and his portrayal of women as "commodified status symbols" depicted through an elegant veneer. This detailed study is a nice complement to the exhibition catalog but is only recommended for libraries that support upper-level programs in art history and 19th-century studies.--Sandra Rothenberg, Framingham State Coll. Lib., MA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

Marshall and Warner's catalog accompanies a Tissot exhibition moving from the Yale Center for British Art to Quebec in December and to the Albright Knox in March 2000. Warner, senior curator of paintings and sculpture at the Center, brings important new insights into Tissot's art. He previously published Tissot (London, 1982). Coauthor Marshall recently completed her doctoral dissertation on Tissot. Warner's introductory essay and the following coauthored articles on individual works furnish context and analyses. These mini-essays and works are organized around themes such as "On the Thames," "The Seasons," "From Prodigal to Pilgrim," etc. As the authors make clear, friends Manet and Degas invited Tissot to exhibit with the Impressionists. He refused. While understanding the new approach, he chose to use more conservative, i.e., nearly photographic representational means. Like the Impressionists, he was influenced by Japanese prints; unlike them, he became successful early on. According to Marshall and Warner, Tissot fulfilled the dicta as expressed in Baudelaire's "Le Peintre de la Vie Moderne." Sometimes he chose subjects previously represented by painters, but he was generally an ironic observer. His last years concentrated on illustrating events in the Bible. Helpful notes; lavish illustrations; excellent bibliography and chronology. General readers; undergraduate and graduate students; professionals. E. E. Hirshler; emeritus, Denison University

Table of Contents

Malcolm Warner
Forewordp. 7
The Painter of Modern Lovep. 9
CatalogueNancy Rose Marshall
Costume Piecesp. 23
La Vie modernep. 35
Men of the Agep. 51
On the Thamesp. 61
City Lifep. 71
On Shipboardp. 81
Social Gracesp. 97
In the Gardenp. 105
The Seasonsp. 121
Declarations of Lovep. 129
Parisiennesp. 147
From Prodigal to Pilgrimp. 163
Notesp. 195
Chronologyp. 201
Bibliographyp. 203
Authors' Acknowledgmentsp. 206