When Tissot moved to London in 1871, he immersed himself in the local scene, with work for Vanity Fair and genre paintings with the river Thames as backdrop. This canvas is a repetition of the left-hand portion of one of his most famous London pictures, Bad News (National Museum of Wales, Cardiff), which shows a captain and his girlfriend absorbing the news of his imminent departure while a companion prepares tea, with the Pool of London in the background. Here, the view is of the dense cityscape beyond that stretch of the river. Tissot's friend Degas owned a pencil study for this work.
Although it is not known whether Tissot visited London in the 1860s, the French painter had already oriented his subjects and style to suit British taste by the time he moved there in 1871. Like many fellow artists—for example, Monet, Pissarro, and Degas—he sought to escape the tumult and aftermath of the civil war in Paris that followed the Prussian defeat of France. He immediately immersed himself in the London scene, with work for Vanity Fair and genre paintings with the Thames as backdrop. Hoping to bank on the success he had in France with historical genre pictures peopled with fancifully costumed Incroyables and Merveilleuses (young Parisians of the Directoire period who paraded in extraordinary and exaggerated dress), he painted several anecdotal scenes set in late-eighteenth-century London. Bad News (National Museum of Wales, Cardiff), shown to great acclaim at the 1872 London International Exhibition, was one of the first and most successful of Tissot's British genre scenes. It shows a young ship's captain and his girlfriend absorbing the news of his imminent departure while a companion prepares tea. Evidently encouraged by the positive reception, Tissot made two further pictures. An Interesting Story (National Gallery of Victoria, Melbourne) was perhaps conceived as a pendant to Bad News, and was exhibited at the Royal Academy the same year, 1872 (the figures are different but they are located in the same interior, with a new view through the window). The third in this group of related subjects is the present work, Tea. Tea is essentially a replica of the left-hand side of Bad News. Nevertheless, there are numerous differences between the two pictures, some notable. Indeed Michael Wentworth characterizes such works of the early 1870s as "variations" rather than "replicas" (1984, p. 20). The table-leaf, dropped in Bad News, is here extended to reveal more of the young lady’s dress, and thus the entire table is moved to the right. The view beyond the windows is here more decidedly urban and recognizably London. An Interesting Story and Tea seem to share the same view of the Thames; the bay window seen here and in other paintings may be the same one shown from the exterior in The Captain’s Daughter (1873; Southampton Art Gallery) and The Three Crows Inn, Gravesend (ca. 1873; National Gallery of Ireland, Dublin). The silver tea service (but not the porcelain, which shows coffee cans rather than tea cups) and the play of light, especially on the face, are different as well. There are other, less obvious small discrepancies in the hat ribbons and the ruff of the apron along the back, and the young woman has lost her earring. While Bad News and An Interesting Story could conceivably be hung as pendants, Tea is too similar to both to be exhibited together with them. Hence, it must have been an independent work designed to entice a collector through its association with the first two well-regarded exhibition pictures. For this variant, Tissot reveled in the variety of surfaces—brilliant silver, polished mahogany, matte silk, and flawless skin—and in the complex play of patterns—venetian blinds, slotted shutters, striped silk, and the masts and rigging of the ships at port. Nevertheless, it seems that all three works were made within a short span. A drawing (private collection), formerly in the collection of Edgar Degas, has a study for An Interesting Story on one side, and a study, perhaps made after rather than for Bad News, on the reverse. This drawing may well have been used in the creation of Tea, which is dated 1872. This procedure is identical to that used by Edgar Degas at approximately the same time. For example, Degas's two pictures of The Rehearsal of the Ballet on the Stage (MMA 29.100.39 and 29.160.26) are very close variants of the same composition, for which the same drawings were used, but the resulting compositions have important differences—perhaps improvements—nonetheless. (See Michael Pantazzi in Degas, exh. cat., New York, 1988, pp. 225–30.) Not only were Degas and Tissot good friends before and after the Franco-Prussian War, but Degas often sought advice from Tissot and hoped to emulate his success with commercial illustration and genre pictures. Degas hoped that Tissot could help him sell The Rehearsal on the Stage as a commercial illustration, and his Portraits in an Office (New Orleans) of 1873 was specifically conceived to lure a client along the lines of Tissot's British clientele, as suggested by Degas's letter to him from New Orleans: "And you, what news is there since the 700 pounds? You with your terrible activity would be capable of drawing money out of this crowd of cotton brokers and cotton dealers, etc." (In 1878, this would become the first work by Degas to enter a public collection, the Musée des Beaux-Arts, Pau, which acquired it for 2,000 francs; Degas’s letter to Tissot is dated November 19, 1872: see Marcel Guerin, ed., Edgar Germain Hilaire Degas Letters, Oxford, 1947, p. 18). [Tinterow and Miller 2005; updated by Asher Ethan Miller 2014]
Inscription: Signed and dated ( lower right): J.J. Tissot / L. '72
private collection, Rome (in 1968); [Somerville & Simpson, Ltd., London, by 1979–81; consigned in 1981 to Mathiessen Fine Art Ltd., London; sold through Mathiessen to Wrightsman]; Mr. and Mrs. Charles Wrightsman, New York (1981–his d. 1986); Mrs. Charles Wrightsman, New York (1986–98)
THIS WORK MAY NOT BE LENT, BY TERMS OF ITS ACQUISITION BY THE METROPOLITAN MUSEUM OF ART.
Willard Erwin Misfeldt. "James Jacques Joseph Tissot: A Bio-Critical Study." PhD diss., Washington University, 1971, p. 138, fig. 72.
Michael Wentworth. Letter to Mrs. Charles Wrightsman. October 5, 1981.
Michael Wentworth. James Tissot. Oxford, 1984, pp. xvii, 103, no. 79, colorpl. 79, includes it in a discussion of the narrative implications of Tissot's neo-Georgian pieces of the early 1870s, where the same elements were often rearranged.
Michael Wentworth inJames Tissot. Ed. Krystyna Matyjaszkiewicz. Exh. cat., Barbican Art Gallery, London. Oxford, 1984, pp. 20, 107, under nos. 44–45, describes the pencil study (Parr collection) for the figure to the left in "Bad News (The Parting)" and in this work.
Christopher Wood. Tissot: The Life and Work of Jacques Joseph Tissot, 1836–1902. Boston, 1986, p. 60, fig. 56, calls it "Tea-Time (Le thé)" and identifies the background as the Thames.
Russell Ash. James Tissot. London, 1992, unpaginated, colorpl. 12, suggests that in deleting the narrative elements, Tissot created a genre painting.
Gary Tinterow in "Recent Acquisitions, A Selection: 1998–1999." Metropolitan Museum of Art Bulletin 57 (Fall 1999), pp. 5, 46–47, ill. (color), identifies the background as the "dense London cityscape" and notes that the pencil study presently in the Parr collection was previously owned by Edgar Degas.
Gary Tinterow and Asher Ethan Miller inThe Wrightsman Pictures. Ed. Everett Fahy. New York, 2005, pp. 401–4, no. 114, ill. (color).
Artist: James Tissot (French, Nantes 1836–1902 Chenecey-Buillon)Date: 1862–63Medium: Point of brush and brown ink, brush and brown wash, over graphite (recto); graphite (verso)Accession: 1970.114.2On view in:Not on view