The Fatted Calf - James Tissot
Archival giclée
Ready to hang
Secure checkout
Made to order
Description
A detailed etching by James Tissot depicting a scene from the Parable of the Prodigal Son, focusing on the elder brother's resentment.
This etching by James Tissot depicts a scene from the Parable of the Prodigal Son, specifically focusing on the resentment of the elder brother. Tissot, a French artist who spent significant time in Britain, demonstrates his technical precision in this work. The composition is set within a rustic, covered outdoor area beside a river, where a family meal is in progress. The elder brother sits in the foreground, his posture conveying a sense of alienation and bitterness as he observes the celebration occurring nearby. Unlike traditional religious art that often idealises biblical figures, Tissot employs a realist approach. He places the narrative in a contemporary setting, using period-appropriate clothing and domestic details. The etching technique allows for a high degree of tonal variation, from the deep shadows under the wooden structure to the lighter, textured surfaces of the clothing and the water. The inclusion of the biblical text at the bottom of the print provides a direct link to the source material, framing the visual narrative within the context of the Gospel of Luke. The work is part of a series exploring the Prodigal Son narrative, a subject that allowed Tissot to explore themes of familial conflict, social status, and moral duty. His attention to the psychological state of the figures, particularly the elder brother, creates a sense of narrative tension. The dog resting near the table and the figures in the background add layers of domestic realism, grounding the spiritual allegory in a tangible, everyday environment. This print offers a glimpse into Tissot's early career, before his later focus on extensive religious cycles, showing his ability to combine narrative clarity with atmospheric detail.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
The Fatted Calf - James Tissot
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Why Choose Us ?
100% Satisfaction Guarantee
Fast Shipping
Museum-Quality Materials
Artist Biography
James Tissot
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.
You May Also Like

