Öèòàòà ñîîáùåíèÿ Åëà2012
Ôðàíöóçñêèé õóäîæíèê Äæåéìñ Òèññî (1836 - 1902 ).
Äæåéìñ Òèññî - Ìàñòåð ñàëîííîé æèâîïèñè Âèêòîðèàíñêîé ýïîõè.

Self Portrait.
Äæåéìñ (Æàê-Æîçåô) Òèññî (1836-1902) ðîäèëñÿ âî ôðàíöóçñêîì ãîðîäå Íàíò, â ñåìüå óñïåøíîãî òîðãîâöà òêàíÿìè Ìàðñåëÿ Òåîäîðà Òèññî. Ìàòü, Ìàðè Äþðàí, ïîìîãàëà ìóæó â ñåìåéíîì áèçíåñå è ðàçðàáàòûâàëà ôàñîíû ìîäíûõ øëÿïîê. Ïî âèäèìîìó, ïðèîáùåíèå ñ äåòñêèõ ëåò ê ìèðó ìîäû è ïîçâîëèëî õóäîæíèêó äîñòè÷ü òàêîé òî÷íîñòè èçîáðàæåíèÿ ìåëü÷àéøèõ äåòàëåé æåíñêîé îäåæäû.
Ó÷èëñÿ â ïàðèæñêîé Øêîëå Èçÿùíûõ èñêóññòâ, ó Ýíãðà. Åãî äðóçüÿìè è ó÷èòåëÿìè ñòàëè Ìàíå, Äåãà (íàïèñàâøèé ïîðòðåò Òèññî). Íî ïîäëèííûì êóìèðîì þíîãî õóäîæíèêà ñòàë Äæåéìñ Óèñòëåð, â ÷åñòü åãî Òèññî äàæå àíãëèçèðîâàë ñâîå èìÿ.

Ýäãàð Äåãà
Ïîðòðåò Äæåéìñà Òèññî, 1867-68,
ìóçåé Ìåòðîïîëèòåí, Íüþ-Éîðê
 1861 ã. êàðòèíà «Âñòðå÷à Ôàóñòà è Ìàðãàðèòû» (Meeting of Faust and Marguerite, 1860) áûëà ïðèîáðåòåíà ãîñóäàðñòâîì è â íàñòîÿùåå âðåìÿ íàõîäèòñÿ â Ìóçåå Îðñå.

Faust and Marguerite in the Garden, 1861
Ïåðâûå ðàáîòû õóäîæíèêà, â îñíîâíîé ìàññå, áûëè ïîñâÿùåíû ïðåêðàñíûì æåíùèíàì. Ïîÿâèëàñü öåëàÿ ñåðèÿ êàðòèí ïîä íàçâàíèåì La Femme a Paris.

Two Sisters; Portrait, 1863

Portrait of Mademoiselle L. L. (also known as Young Woman in a Red Jacket), 1864
Äåâóøêà â êðàñíîì æàêåòå, 1864

The Confidence (aka The Admission), 1867

The Stairs, 1869

Young Women Looking at Japanese Objects, 1869

Young Women Looking at Japanese Objects, 1869-70

Young Lady in a Boat, 1870
Åãî êàðüåðà áûëà ñòðåìèòåëüíîé, îí âåñüìà áûñòðî ñòàë ïîïóëÿðåí êàê ñàëîííûé õóäîæíèê, àâòîð ìíîæåñòâà êîëîðèòíûõ æåíñêèõ ïîðòðåòîâ.
 1870 ãîäó â æèçíè õóäîæíèêà ïðîèçîøëî çíàêîâîå ñîáûòèå – îí âñòðåòèë Êýòëèí Íüþòîí. Ãëàâíîé åãî íàòóðùèöåé, åäèíñòâåííîé ïîäðóãîé æèçíè áûëà æåíùèíà íåæíîé è ïå÷àëüíîé êðàñîòû, èðëàíäêà Êýòëèí Íüþòîí.
Þíàÿ ëåäè óñïåëà ïîáûâàòü çàìóæåì äî âñòðå÷è ñ Äæåéìñîì. Îíè ïðîæèëè âìåñòå 12 ëåò è Êýòëèí ñòàëà åãî ìóçîé, íàòóðùèöåé, ëþáèìîé. Íî ñ÷àñòüå íå áûâàåò âå÷íûì.  1882 ãîäó ìîëîäàÿ æåíùèíà ïîêîí÷èëà ñ ñîáîé (îíà ñèëüíî ñòðàäàëà îò òóáåðêóëåçà). Åé áûëî âñåãî 28 ëåò.

Type of Beauty (aka Kathleen Newton), 1880
Êðàñàâèöà (Êýòëèí Íüþòîí), 1880 ã.

Kathleen Newton in an Armchair
Êýòëèí Íüþòîí â êðåñëå, 1878 ã.

Kathleen Newton at the Piano, 1881
Õóäîæíèê îòíþäü íå ñòîðîíèëñÿ áóðü ñâîåãî âðåìåíè — ó÷àñòíèê Ôðàíêî-Ðóññêîé âîéíû, îí, â 1871 ãîäû îêàçûâàë ïîìîùü áîéöàì Ïàðèæñêîé êîììóíû. Ïîñëå ïîðàæåíèÿ ðåâîëþöèè è ãèáåëè òûñÿ÷ ëþäåé, õóäîæíèê, ñïàñàÿñü îò àðåñòà óåõàë â Ëîíäîí, ãäå ñîçäàë ìíîæåñòâî æàíðîâûõ êàðòèí. Åãî ðàáîòû îõîòíî ðàñêóïàëèñü, ñåìüÿ æèëà â ïîëíîì äîñòàòêå. Áîëåå òîãî, èìåííî â Àíãëèè Òèññî áûë ïðèçíàí íåïðåâçîéäåííûì ìàñòåðîì, ïåâöîì îáùåñòâåííîé æèçíè âèêòîðèàíñêîé ýëèòû.

A Widow, 1868
Âäîâà, 1868

Bad News (aka The Parting), 1872
Ïëîõèå íîâîñòè ( ðàññòàâàíèå), 1872

Too Early, 1873.
Ñëèøêîì ðàíî, 1873.

Reading the News, 1874

The Bunch of Lilacs, 1875

Room Overlooking the Harbor, 1876-78
Íîìåð ñ âèäîì íà ãàâàíü, 1876-78

Hush! (also known as The Concert), 1875
Òèøå! (Êîíöåðò), 1875 ã.

A Convalescent, 1876
Âûçäîðàâëèâàþùàÿ
1876

The Gallery of H.M.S. Calcutta, 1877

July - Specimen of a Portrait, 1878

A Fete Day at Brighton, 1875-78

The Warrior's Daughter, 1878

The Ball, 1880
«Áàë», 1880, ìóçåé Îðñå, Ïàðèæ
Êàê ïèñàëè ãàçåòû òîé ýïîõè «…åñòü íåêàÿ èðîíèÿ â òîì, ÷òî íåïðåâçîéäåííûì ïî ýëåãàíòíîñòè, áëåñêó, îòòî÷åíîñòè äåòàëåé ñðåäè àíãëèéñêèõ õóäîæíèêîâ ñ÷èòàåòñÿ ôðàíöóç…».

Hide and Seek, 1880-82
Ïðÿòêè, 1880-82

The Garden Bench, 1882

On the Thames (aka Return from Henley), 1882

A Woman of Ambition, 1883-85

In the Conservatory

In the Louvre, 1883-85.

The Artists Ladies, 1883-85

The Traveller, 1883-1885
Íî 1882 ãîäó, îò òóáåðêóëåçà ïîãèáàåò Êýòëèí.
Òèññî óåçæàåò â Ïàëåñòèíó, êîòîðàÿ è ñòàíîâèòüñÿ ïîñëåäíåé ëþáîâüþ åãî æèçíè. Ïðàêòè÷åñêè âñå ðàáîòû Òèññî, ïîñâÿùåííûå áèáëåéñêîì òåìàòèêå ïèñàëèñü èëè çàäóìûâàëèñü íà Ñâÿòîé çåìëå. Âãëÿäûâàÿñü â ëèöà íà åãî áèáëåéñêèõ êàðòèíàõ, ïîíèìàåøü — ýòî íå åâðîïåéöû, ýòî ïîäëèííûå ëþäè ïóñòûíè, íåèñòîâûå, æåñòêèå, ãîðäûå. Èìåííî â Ïàëåñòèíå õóäîæíèê ñîçäàë áîëåå ñåìèñîò àêâàðåëåé î æèçíè Èèñóñà Õðèñòà. ×àñòü ðàáîò áûëà âûñòàâëåíà â Ïàðèæå, à çàòåì è â Ëîíäîíå. Áîëåå 350 ðàáîò áûëî âûêóïëåíî ïàðèæñêîé êîìïàíèåé «Ëåìåðñüå» çà 1 100 000 ôðàíêîâ.
Õóäîæíèê ïðîäîëæàë ðàáîòàòü íàä ñþæåòàìè î Âåòõîì Çàâåòå è Õðèñòå äî ñàìîé ñâîåé ñìåðòè.
Äæåéìñ Òèññî âåðíóëñÿ íà ðîäèíó òîëüêî äëÿ òîãî, ÷òîáû óìåðåòü. Óìåð Äæåéìñ Òèññî 8 àâãóñòà 1902 ãîäà â Ïàðèæå.

Self Portrait
 ìàå 2012 ã. êàðòèíà Äæåéìñà Òèññî «Óòðåííÿÿ ïðîãóëêà» (The Morning Ride) áûëà ïðîäàíà íà àóêöèîíå Sotheby's çà 1 874 500 äîëëàðîâ ÑØÀ.

Äæåéìñ Òèññî «Óòðåííÿÿ ïðîãóëêà» (The Morning Ride)
ÑÏÀÑÈÁÎ ÇÀ ÂÍÈÌÀÍÈÅ.
http://www.arteveryday.org/tissot-james/
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