Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Die Rückkehr - James Tissot
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
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Beschreibung
Eine detaillierte Radierung von James Tissot, die das Gleichnis vom verlorenen Sohn in einem maritimen Ambiente des 19. Jahrhunderts neu interpretiert.
James Tissot, ein französischer Maler, der einen Großteil seiner Karriere in London verbrachte, schuf diese Radierung als Teil einer Serie, die das Gleichnis vom verlorenen Sohn interpretiert. Im Gegensatz zu traditionellen Darstellungen, die die Erzählung im alten Judäa ansiedeln, verlegt Tissot die Szene in ein zeitgenössisches maritimes Setting des 19. Jahrhunderts. Die Figuren stehen auf dem Holzdeck eines Schiffes, umgeben von den alltäglichen Realitäten des Viehtransports und nautischer Ausrüstung.
Im Mittelpunkt steht die emotionale Wiedervereinigung zwischen Vater und Sohn. Der Sohn, in zerrissener Kleidung, kniet in einer Geste der Demut, während der Vater ihn umarmt. Tissot wendet bei der Radierung ein hohes Maß an technischer Präzision an und verwendet unterschiedliche Linienstärken, um die Textur der Holzplanken, den rauen Stoff der Mäntel der Männer und die atmosphärische Qualität des Schiffsinneren zu definieren. Die Hintergrundfiguren, darunter Seeleute und Vieh, bilden einen starken Kontrast zu dem intimen Drama, das sich im Vordergrund abspielt.
Dieses Werk zeigt Tissots Interesse an der Schnittmenge von religiösen Themen und modernem Leben. Indem er die biblische Geschichte aus ihrem historischen Kontext löst, lädt er den Betrachter ein, die Erzählung durch eine zeitgenössische Linse zu betrachten. Die Einbeziehung der spezifischen Bibelverse am unteren Rand des Drucks verankert die visuelle Szene im Originaltext, doch die visuelle Sprache bleibt fest in der Ästhetik des viktorianischen Zeitalters verwurzelt. Die Komposition beruht auf einer tiefen Perspektive, die das Auge von den Vordergrundfiguren zurück zum Schiffstakelage und zum fernen Horizont lenkt. Die Verwendung von Licht und Schatten erzeugt ein Gefühl von Volumen und verleiht den Figuren eine physische Präsenz im begrenzten Raum des Decks.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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Die Rückkehr - James Tissot
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
James Tissot
Tissot's real name was Jacques Joseph. He adopted James at eleven, out of admiration for English culture, which turned out to be prescient: he spent the most productive decade of his career in London, painting the English upper classes with a precision they found both flattering and uncomfortable.
He grew up in the port city of Nantes, the son of a milliner and dressmaker. His mother's trade shows in the paintings: nobody in nineteenth-century art rendered fabric, lace, ribbons and the cut of a sleeve with more attention than Tissot. He studied in Paris under Hippolyte Flandrin and exhibited at the Salon from 1859, shifting quickly from medieval subjects to modern life.
He fought in the Franco-Prussian War and was implicated in the Paris Commune of 1871, though the extent of his involvement remains unclear. What is clear is that he left Paris in a hurry after Bloody Week and turned up in London, where his detailed paintings of Victorian society made him wealthy within a few years. The English liked his work because it showed them as they wished to be seen: well-dressed, leisured, and slightly mysterious. The sexual tension in many of his compositions, the glances exchanged between men and women across the rigid codes of Victorian propriety, is always present and never explicit.
He drew caricatures for Vanity Fair under the pseudonym Coide. He was also a serious collector of Japanese art, and the influence of Japanese composition and textile patterns runs through his work alongside the European tradition.
In London he began a relationship with Kathleen Newton, an Irishwoman who became his constant model and companion until her death from tuberculosis in 1882. He returned to Paris after she died and spent his final years painting a monumental series of 350 gouaches illustrating the life of Christ, based on research trips to the Middle East.
He grew up in the port city of Nantes, the son of a milliner and dressmaker. His mother's trade shows in the paintings: nobody in nineteenth-century art rendered fabric, lace, ribbons and the cut of a sleeve with more attention than Tissot. He studied in Paris under Hippolyte Flandrin and exhibited at the Salon from 1859, shifting quickly from medieval subjects to modern life.
He fought in the Franco-Prussian War and was implicated in the Paris Commune of 1871, though the extent of his involvement remains unclear. What is clear is that he left Paris in a hurry after Bloody Week and turned up in London, where his detailed paintings of Victorian society made him wealthy within a few years. The English liked his work because it showed them as they wished to be seen: well-dressed, leisured, and slightly mysterious. The sexual tension in many of his compositions, the glances exchanged between men and women across the rigid codes of Victorian propriety, is always present and never explicit.
He drew caricatures for Vanity Fair under the pseudonym Coide. He was also a serious collector of Japanese art, and the influence of Japanese composition and textile patterns runs through his work alongside the European tradition.
In London he began a relationship with Kathleen Newton, an Irishwoman who became his constant model and companion until her death from tuberculosis in 1882. He returned to Paris after she died and spent his final years painting a monumental series of 350 gouaches illustrating the life of Christ, based on research trips to the Middle East.
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- Papierformate: A4, A3, A2, A1, A0 und B2 (50×70 cm)
- Leinwand: XS (20×30 cm) bis Large (60×90 cm)
- Rahmen: Schwarz, Naturholz, dunkles Holz oder Weiß
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Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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Biografie des Künstlers
James Tissot
Tissot's real name was Jacques Joseph. He adopted James at eleven, out of admiration for English culture, which turned out to be prescient: he spent the most productive decade of his career in London, painting the English upper classes with a precision they found both flattering and uncomfortable.
He grew up in the port city of Nantes, the son of a milliner and dressmaker. His mother's trade shows in the paintings: nobody in nineteenth-century art rendered fabric, lace, ribbons and the cut of a sleeve with more attention than Tissot. He studied in Paris under Hippolyte Flandrin and exhibited at the Salon from 1859, shifting quickly from medieval subjects to modern life.
He fought in the Franco-Prussian War and was implicated in the Paris Commune of 1871, though the extent of his involvement remains unclear. What is clear is that he left Paris in a hurry after Bloody Week and turned up in London, where his detailed paintings of Victorian society made him wealthy within a few years. The English liked his work because it showed them as they wished to be seen: well-dressed, leisured, and slightly mysterious. The sexual tension in many of his compositions, the glances exchanged between men and women across the rigid codes of Victorian propriety, is always present and never explicit.
He drew caricatures for Vanity Fair under the pseudonym Coide. He was also a serious collector of Japanese art, and the influence of Japanese composition and textile patterns runs through his work alongside the European tradition.
In London he began a relationship with Kathleen Newton, an Irishwoman who became his constant model and companion until her death from tuberculosis in 1882. He returned to Paris after she died and spent his final years painting a monumental series of 350 gouaches illustrating the life of Christ, based on research trips to the Middle East.
He grew up in the port city of Nantes, the son of a milliner and dressmaker. His mother's trade shows in the paintings: nobody in nineteenth-century art rendered fabric, lace, ribbons and the cut of a sleeve with more attention than Tissot. He studied in Paris under Hippolyte Flandrin and exhibited at the Salon from 1859, shifting quickly from medieval subjects to modern life.
He fought in the Franco-Prussian War and was implicated in the Paris Commune of 1871, though the extent of his involvement remains unclear. What is clear is that he left Paris in a hurry after Bloody Week and turned up in London, where his detailed paintings of Victorian society made him wealthy within a few years. The English liked his work because it showed them as they wished to be seen: well-dressed, leisured, and slightly mysterious. The sexual tension in many of his compositions, the glances exchanged between men and women across the rigid codes of Victorian propriety, is always present and never explicit.
He drew caricatures for Vanity Fair under the pseudonym Coide. He was also a serious collector of Japanese art, and the influence of Japanese composition and textile patterns runs through his work alongside the European tradition.
In London he began a relationship with Kathleen Newton, an Irishwoman who became his constant model and companion until her death from tuberculosis in 1882. He returned to Paris after she died and spent his final years painting a monumental series of 350 gouaches illustrating the life of Christ, based on research trips to the Middle East.
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