James Tissot, 1877 - Gizlənqaç - təsviri sənət çapı

Bədii nüsxə haqqında məlumat Gizlət və Seek

In 1877 bu kişi rəssam James Tissot painted this 19th century piece of art. The beyond 140 year-old original had the following size: 73,4 x 53,9 cm (28 7/8 x 21 1/4 in). Taxta üzərində yağ was used by the artist as the technique for the work of art. It can be viewed in in the National Gallery of Art's art collection. With courtesy of: Milli İncəsənət Qalereyası, Vaşinqton (public domain).Also, the artpiece has the following creditline: . Further, the alignment is portrait and has a side ratio of 3: 4, meaning that the length is 25% shorter than the width. James Tissot was a male painter, caricaturist from France, whose art style can be attributed mainly to Realism. The artist was born in 1836 yaşında vəfat etmişdir 66 1902 edir.

Supplemental information by National Gallery of Art (© Copyright - National Gallery of Art - Milli Sənət Qalereyası)

Chester Dale Fund

In early 1874 Degas wrote, "Look here, my dear Tissot. . . you positively must exhibit at the Boulevard [in the first impressionist exhibition]. . . Exhibit. Be of your country and with your friends." Degas and Tissot, who met as students during the late 1850s, stayed in close communication even after Tissot fled to London in 1871 to avoid punishment for activities in the abortive Commune. Arguing that the benefits of declaring his allegiance to French art outweighed the potential harm it might cause among Tissot's London audience, Degas urged Tissot to show with the impressionists and thereby affirm his ties to France and more particularly to Degas and realism.

Although he chose not to accept the invitation, Tissot, like Degas, worked in a realist vein. Hide and Seek depicts a modern, opulently cluttered Victorian room, Tissot's studio. After Kathleen Newton entered his home in about 1876, Tissot focused almost exclusively on intimate, anecdotal descriptions of the activities of the secluded suburban household, depicting an idyllic world tinged by a melancholy awareness of the illness that would lead to her death in 1882. The artist's companion reads in a corner as her nieces and daughter amuse themselves. The artist injected an atmosphere of unease into this tranquil scene by comparing the three lively faces peering toward the infant in the foreground at the left with an ashen Japanese mask hanging near Mrs. Newton in the entry to the conservatory.

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