The Republican journal., 1900-01-04
Tissot's Wonderful Pain tings

These famous paintings, which have
been on exhibition for the few weeks past
in the Old Providence Sta in Boston,
have excited the deepest and re-
ceived the highest pra Ever they
have been shown. They rst exhib-
tied Ia Paris, and the unuNMDehthusiasn
aroused. not only among the great ART
critics but among the people of all classes
WAS most extraordinary. A similar success
was achieved in London, where the pic
lures were visited 10y over one hundred
thousand persons.
Their reception in the United States
has been as enthusiastic. In New y Ork
and Brooklyn vast crowds gathered as
long as tn. marvellous paintings were on
exhibition, and it is reported that in Chi
cage over two hundred thousand persons
paid admission 10 view these remarkable
works Of religious art.
j, James Tssot. the artist, had attained
great fame as painter. But in 1856, M.
Frissot, then fifty years Of age, suddenly
turned from painting scenes of Partisan
frivolty and gave lis attention to the hum
bic scenes of Christ's life. He had made
Il careful study of the Gospels and deter
mined to tell the ''Old, old story as it
had never been presented before. He has
said, ''Attracted as l was by the divine
figure OF Jesus and by the enhancing
scenes of the Gospel story, and desiring
to present them as faithfully as | could in
their different aspects, | determined to
start for Palestine, ard to visit it as a
devout Pilgrim
For ten years thereafter he visited and
revisited the Holy Land, stopping there
several months at time studying the land
and people, painting types of character
and making sketches of the actual places
and surroundings connected with Gospel
narratives. The pictures number nearly
500 in all. About 100 are pen and ink
sketches, the remainder are in water
coIors. They are loaned by NJ. Tissot to
the American Art Association, under
whose auspices they are exhibited in this
country. 1t is reported that they are
valued at $500, 600 by the artist and are
insured for $3.50, 600.
AS we enter the building we pass first
into the outer gallery, in which are hung
many Of Tissot earlier sketches and oil
paintings. Among the latter is his IA
nous work entitled Inward Voices"
and a series Of four paintings ION which
the artist was awarded a gold medaD il
Illustrating the parable OF 1.-The Prodigal
SON with modern Interpretation.
But we hasten along, for our self inter-
est centels in his marvellous collection of
the incidents connected with the life and
death of the Lord Jesus Christ. The
paintings are not large in size, varying
from few inches square upward, the
largest about II by % inches.
The most striking characteristic about
these pictures is their naturalness. 1.-THE
Youth of Jesus is considered one of his
masterpieces; here we see the boy Jesus,
as Joseph son, assisting in the carpen-
ter shop carrying board on his shoulder.
Another notable feature of NJ. Tissot's
great works is his accuracy and careful
attention to the smallest details. Nothing
is too tritiing fer the artist to note with
the utmost care-whether it be the curl
OF the shavings on the carpenters floor
or the fringe on some richly embroidered
garment. Every one of his pictures is in
stinct with vitality. In Jesus Sitting in
the Midst of the Doctors the earnestness
of the Child, who is sitting, while stand
ing around Him with unconcealed aston
ishment stealing over their features are
the learned teachers of the Law, makes
an impressive scene.
The originality of the artist concep-
tons is shown in THE Pool of Bethesda, -
Around the edge of the pool are reclining
the crippled unfortunates waiting the
coming of the angel to ''trouble the wa
tel" while in the pool two large hands,
agitating the surface of the water, are por-
trayed 'Christ Preaching by the Seaside
and 1.-THE Sermon on the Mount are at
tractive features. The calm repose of Christ
is seen as He talks with His disciples, and
the resoluteness of his character as with
scourge in hand He drives the traders
from the temple. ''Ecce Homo and
"Let Him be Crucified'' are particularly
fine in their dramatic effect.
And then the awfulness of those views
depicting the ''Crucifxion;' the terrible
suffering, the cruel hatred of His foes, the
sorrowful, terrified countenances of His
friends.
But space forbids further description Of
these marvellous paintings. Nor is it pos.