Le Hamac. The Hammock. by James J. J. Tissot, 1836-1902

James J. J. Tissot, 1836-1902
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Le Hamac. The Hammock.

Original etching with drypoint in black ink. 1880. Signed in pencil. Also with the red monogram stamp. Also signed and dated in the plate. From the rare first edition of c. 100 impressions (or posibly slightly less). Printed at the studio of Goulding in London 1880. (Note: A second edition was printed by Delatre in Paris c.1883/4).
Ref: Wentworth - Tissot prints no 46.

Excellent beuatifully tonal and sparkling impression. On pale cream/white laid antique (?18th century) paper. Excellent condition; monogram stamp just a tiny bit faded. Full margins. Sheet: 14 7/8 x 9 1/2ins. Plate: 10 7/8 x 7 1/8ins ( 278x183mm)

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A superb impression of one of Tissot's most beautiful studies of Kathleen Newton in a rare signed impression from the first edition printed for Tissot in London at Goulding's studio in 1880. (Note: There was a second edition of this etching printed in Paris by Delātre in 1883).

One of the most beautiful qualities in Tissot's etching is his feeling for variations of texture and surface. He had an innate feeling for the way that the strength and character of the etched stroke could be varied so as to evoke the contrasts between the rich fabrics of a silk dress, the woven pattern of a cushion, or the natural surfaces of foliage or grass. At the same time he made brilliant use of the ink tones to create light and shade.

The essence of Tissot's art also lies in his handling of narrative situation in his pictures. The compositions are not just posed figures but are used to evoke the whole atmosphere of a story. His relationship with Kathleen Newton inspired some of his most appealing narrative themes; but he felt that their life together was secret and private and in this study this feeling of a closed private world can be felt very strongly. The garden in the distance, with the children playing, is full of light whilst the foreground is in shadow. We, as viewers, can see in to the sunlight but our way in is barred. The hammock hangs right across the picture; the upper part is blocked by foliage; the lower foreground is barred by the strategic placing of the parasol and table.

It is just this combination of inspired skill with the medium of etching and complex often highly expressive pictorial arrangement within a narrative pictorial framework which makes Tissot's prints so compelling and so beautiful.