James Jacques-Joseph Tissot, ‘LE DIMANCHE MATIN (Sunday Morning)’, 1883, Christopher-Clark Fine Art

Signature: Signed and dated in the plate lower right J.J. Tissot / 1883. Bearing the artist's red monogram stamp (Lugt 1545) in the lower right hand corner of the plate, which Tissot affixed only to those impressions from any given edition which he considered to be the finest (he reserved these impressions for his own collection).

Victor Arwas, Belle Epoque Posters & Graphics, Rizzoli, New York, 1978, p. 14 (ill.);
Krystyna Matyjaszkiewicz, James Tissot, Phaidon Press & Barbican Art Gallery, London, 1984, no. 164, p. 136 (ill.);
Christopher Wood, Tissot: The Life and Work of Jacques Joseph Tissot 1836-1902, Weidenfeld & Nicholson, London, 1786, no. 130, p. 126 (ill.).

About James Jacques-Joseph Tissot

In genre portraits of fashionable, high-society women in the late 1800s, James Jacques-Joseph Tissot captured the charmed elegance of his social world by documenting the costumes, decor, and events of the elite. A painter, printmaker, and enamelist, Tissot was a student of Hippolyte Flandrin and Louis Lamothe at the École des Beaux-Arts in Paris, but later relocated to London after fighting in the Franco-Prussian war, where a caricature gig at Vanity Fair granted him entry to the elite society that would ultimately define his subject matter. Upon meeting his wife and muse Kathleen Newton, Tissot drastically altered his lifestyle and subject matter to trade his social life for domesticity, and upon her death, a heartbroken Tissot returned to Paris with a subsequent interest in religion and spirituality that was reflected in his work thereafter.

French, 1836-1902, Nantes, France

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