In Full Sunlight (En plein soleil) - James Tissot
Archival giclée
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Description
A detailed etching by James Tissot depicting a quiet garden scene with figures resting on the grass, capturing the atmosphere of a sunlit afternoon.
James Tissot, a French painter who spent a significant portion of his career in London, produced this etching during a period when he was deeply engaged with printmaking techniques. Known for his meticulous observation of Victorian social life, Tissot captures a quiet afternoon in a garden setting. The composition features a group of figures resting upon the grass, with a woman seated in the foreground wearing a structured hat and dark dress, while a child lies nearby. A parasol rests on the ground, and another figure is visible in the background near a stone wall, partially obscured by foliage.
The work demonstrates Tissot's technical proficiency with the etching needle. He employs a variety of cross-hatching and fine lines to suggest the texture of the lawn, the fabric of the clothing, and the dappled light filtering through the garden greenery. The contrast between the shaded areas and the bright, open space of the lawn provides the visual weight for the title. Tissot often used his own home and garden in St John's Wood as a backdrop for his scenes, lending a sense of domestic intimacy to his work. This print reflects his interest in the leisure activities of the upper-middle class, a recurring theme in his oeuvre. The attention to detail, from the folds of the garments to the individual blades of grass, is characteristic of his approach to both painting and printmaking. By focusing on a moment of stillness, Tissot invites the viewer to observe the subtle interactions and the atmosphere of a private, sunlit space. The print remains a fine example of his ability to translate the nuances of light and texture into the monochromatic medium of etching.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
In Full Sunlight (En plein soleil) - James Tissot
Artist Biography
James Tissot
He grew up in the port city of Nantes, the son of a milliner and dressmaker. His mother's trade shows in the paintings: nobody in nineteenth-century art rendered fabric, lace, ribbons and the cut of a sleeve with more attention than Tissot. He studied in Paris under Hippolyte Flandrin and exhibited at the Salon from 1859, shifting quickly from medieval subjects to modern life.
He fought in the Franco-Prussian War and was implicated in the Paris Commune of 1871, though the extent of his involvement remains unclear. What is clear is that he left Paris in a hurry after Bloody Week and turned up in London, where his detailed paintings of Victorian society made him wealthy within a few years. The English liked his work because it showed them as they wished to be seen: well-dressed, leisured, and slightly mysterious. The sexual tension in many of his compositions, the glances exchanged between men and women across the rigid codes of Victorian propriety, is always present and never explicit.
He drew caricatures for Vanity Fair under the pseudonym Coide. He was also a serious collector of Japanese art, and the influence of Japanese composition and textile patterns runs through his work alongside the European tradition.
In London he began a relationship with Kathleen Newton, an Irishwoman who became his constant model and companion until her death from tuberculosis in 1882. He returned to Paris after she died and spent his final years painting a monumental series of 350 gouaches illustrating the life of Christ, based on research trips to the Middle East.
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