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At the Seashore, 1880. Creator: James Tissot (French, 1836-1902)
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At the Seashore, 1880. Creator: James Tissot (French, 1836-1902)
At the Seashore, 1880. In spite of the title and nautical background, Tissot in fact used a curved bay window in his London home as the setting for this composition. The model was Kathleen Newton, the young divorcee who, along with her young daughter and son, were the exclusive subjects of Tissots work from 1876 until her death from tuberculosis in 1882 at the age of 28. The uncertainty of the figures social position, whose identity as a respectable bourgeois wife is open to question, is underscored by her precarious pose on a window ledge. Newton lived with the artist at his home in St. Johns Wood, one of Londons new suburbs, perceived by Victorians not as a haven of domesticity, but a confusing and troubling product of the modern age. Like his contemporaries Cassatt and Manet, Tissot was a painter of modern, urban life. He eschewed anecdote, preferring instead to tantalize his viewers with suggestive ambiguity. Like Cassatt, Tissot was also influenced by Japanese prints; for this etching, he adopted the format of the hashira-e, a tall, narrow woodcut used on pillars in Japan
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Media ID 19616802
© Heritage Art/Heritage Images
1836 1902 Etching And Drypoint James Tissot James Tissot French
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EDITORS COMMENTS
At the Seashore, 1880" is a captivating print that transports viewers to a serene coastal setting. However, what may seem like an idyllic scene actually unfolds within the confines of James Tissot's London home. The artist ingeniously utilizes a curved bay window as the backdrop for this composition, blurring the lines between reality and imagination. The central figure in this artwork is Kathleen Newton, who became Tissot's muse after her divorce. Alongside her young daughter and son, she exclusively featured in Tissot's works from 1876 until her untimely death at just 28 years old due to tuberculosis. The uncertainty surrounding Newton's social position adds intrigue to the image; her identity as a respectable bourgeois wife remains ambiguous. Newton's precarious pose on the window ledge further accentuates this enigmatic quality. Living with Tissot in St. Johns Wood, one of Victorian London's new suburbs, their unconventional arrangement challenges societal norms of domesticity prevalent during that era. Tissot shares similarities with his contemporaries Cassatt and Manet as he captures modern urban life through his artistry. Rather than relying on explicit narratives or anecdotes, he tantalizes viewers with suggestive ambiguity reminiscent of Japanese prints' influence on him. This etching adopts the format known as hashira-e—a tall and narrow woodcut traditionally used on pillars in Japan—showcasing Tissot's versatility and willingness to experiment with different artistic styles and techniques throughout his career.
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