Fine Art Poster
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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.
Caricature of Charles Darwin - James Tissot
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£28.00 GBP
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£28.00 GBP
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Beschrijving
A 1871 chromolithograph by James Tissot depicting Charles Darwin, originally published in Vanity Fair as part of their Men of the Day series.
This chromolithograph, published in the 30 September 1871 edition of Vanity Fair, depicts the naturalist Charles Darwin. Created by James Tissot under the pseudonym 'Coïdé', the work appeared as part of the magazine's 'Men of the Day' series, specifically number 33, titled 'Natural Selection'.
Tissot captures Darwin in a seated posture, his expression conveying a sense of quiet amusement. The artist employs a restrained colour palette, focusing on the dark tones of the subject's suit against the muted green of the upholstered chair. The composition is clean, placing the figure against a neutral background to draw attention to the facial features and the characteristic long, white beard. The print reflects the satirical tradition of Victorian periodical illustration, where public figures were often rendered with slight exaggerations to capture their personality or professional identity.
While Tissot is better known for his paintings of high-society life in London and Paris, his contributions to Vanity Fair demonstrate his ability to adapt his observational skills to the requirements of political and social commentary. The print provides a glimpse into the public perception of Darwin during the period following the publication of his major scientific works. The inclusion of the title 'Natural Selection' at the base of the print serves as a direct reference to his scientific contributions, framing the caricature within the context of his intellectual identity. This piece remains a notable example of nineteenth-century print culture, documenting the intersection of scientific fame and popular media.
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Elke print wordt op bestelling gemaakt met 12-kleuren giclée-druk op FSC-gecertificeerd archiefpapier. Ontworpen in Groot-Brittannië en gedrukt in het dichtstbijzijnde productiecentrum om verspilling tegen te gaan en de levering te versnellen.
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- Papierformaten: A4, A3, A2, A1, A0 en B2 (50×70 cm)
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Caricature of Charles Darwin - James Tissot
Normale prijs
Vanaf £28.00 GBP
Actieprijs
Vanaf £28.00 GBP
Normale prijs
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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Fine Art Framed
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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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