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University of Florida Thesis Or Dissertation Formatting FASHIONABLE MODERNITY: AGENCY AND SPECTACLE IN JAMES TISSOT’S PORTRAIT OF THE MARQUISE DE MIRAMON By MAURA GLEESON A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2014 © 2014 Maura Gleeson To Margaret, Gerard and Charlotte ACKNOWLEDGMENTS I would like to thank my committee chair, Dr. Melissa Hyde, for the generous amount of time, advice and encouragement she provided throughout this project. My fascination with James Tissot and the Marquise grew from a paper I wrote for Dr. Hyde's "Fashioning Identity" seminar, where she first recommended that I look deeper at the women portrayed in his paintings. I am grateful to my committee member, Dr. Sheryl Kroen, whose source recommendations and vast knowledge of the nineteenth century shaped my understanding of the modern Paris Tissot encountered in the 1860s. I would also like to thank my committee member, Dr. Joyce Tsai, whose suggestions were extremely helpful to my interpretation of modernity’s impact on Tissot and his art. This thesis would not have been possible without other helpful contributions. I would like to thank Sally McKay at the Getty Research Institute, who provided access to Tissot’s letters to the Miramon family. I also want to recognize and thank Dr. Weltman- Aron at the University of Florida for her generous help in transcribing them. I am grateful to Jenny Zentner for providing information on nineteenth century Japanese collecting that was useful to my reading of the portrait. Finally, I am thankful for my family and friends who have lent their support throughout this journey- especially my wonderful parents, Margaret and Gerard, who believed in me from the start. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF FIGURES .......................................................................................................... 6 ABSTRACT ..................................................................................................................... 9 CHAPTER 1 INTRODUCTION .................................................................................................... 11 Modernity, Modernism and Tissot’s Education ................................................. 13 Rethinking the Marquise ................................................................................... 17 2 FASHIONING AGENCY ......................................................................................... 27 Rethinking Fashionable Portraiture .................................................................. 30 Fashion and the Feminine Realm ..................................................................... 33 Gendered Consumption and Collecting ............................................................ 35 Between the Public and Private ........................................................................ 39 Rethinking Fashionable Portraiture .................................................................. 48 3 PUBLIC SPECTACLE AT THE UNIVERSAL EXPOSITION ................................... 63 National Spectacle at the Exposition ................................................................ 65 Artistic Motives ................................................................................................. 69 Consumerism and Taste at the Exposition ....................................................... 72 Gendered Realms ............................................................................................ 76 Artistic Frustrations in 1867 .............................................................................. 79 4 CET ÊTRE COMPLEXE ......................................................................................... 97 Artificial Realism ............................................................................................... 99 A Question of Nationalism .............................................................................. 105 The Complex Being ........................................................................................ 110 5 CONCLUSION ...................................................................................................... 128 Future Research ............................................................................................. 129 Post Script ...................................................................................................... 130 WORKS CITED ........................................................................................................... 132 BIOGRAPHICAL SKETCH .......................................................................................... 136 5 LIST OF FIGURES Figure page 1-1 James Tissot, Portrait of the Marquise de Miramon, 1866, oil on canvas. Getty Museum, Los Angeles............................................................................... 21 1-2 James Tissot, Copy of Ingres’ Portrait of Madame de Sennones (1814), 1857. .................................................................................................................. 22 1-3 James Tissot, Portrait of Mlle M…, c. 1860. Reproduced in Willard Misfeldt’s Albums of James Tissot (1982: Bowling Green University Popular Press). ....... 23 1-4 Gustave Courbet, Portrait of Madame Mathilde de Cuoq, c. 1852-1857. Oil on canvas, Metropolitan Museum. ...................................................................... 24 1-5 James Tissot, Circle of the Rue Royale, 1868. Oil on canvas, Musée d’Orsay. .............................................................................................................. 25 1-6 James Tissot, Portrait of Eugene Coppens de Fontenay, 1868, oil on canvas. Philadelphia Museum of Art. http://www.philamuseum.org/collections/permanent/104504.html ...................... 26 1-7 Tissot, Portrait of an Unidentified Man, c. 1867-68. Reproduced in Willard Misfeldt’s Albums of James Tissot (1982: Bowling Green University Popular Press). ................................................................................................................ 26 2-1 James Tissot, Portrait of the Marquise de Miramon, 1866, oil on canvas. Getty Museum, Los Angeles............................................................................... 50 2-2 James Tissot, Portrait of Mademoiselle L.L., 1864, oil on canvas. Musée d’Orsay, Paris. .................................................................................................... 51 2-3 James Tissot, Les Deux Sœurs, 1863, oil on canvas. Musée d’Orsay, Paris. .... 52 2-4 Aimée Zoé Lizinka de Mirbel, Portrait of Xavier Feuillant, 1838. Private Collection. ........................................................................................................... 53 2-5 Fashion plate from La Mode Illustrée, 1857. ...................................................... 54 2-6 James Tissot, Young Ladies looking at Japanese Objects, 1869. First version. Oil on canvas, location unknown ........................................................... 55 2-7 James Tissot, Young Ladies Looking at Japanese Objects, 1869. Second Version.Oil on canvas, 27 3/4 x 19 3/4 inches. Cincinnati Art Museum. ............. 56 2-8 James Tissot, Young Ladies Looking at Japanese Objects, 1869. Third version, oil on canvas. Private collection. ........................................................... 57 6 2-9 James Tissot, Portrait of the Marquis and Marquise of Miramon and their children, 1865, Oil on canvas. Musée d’Orsay, Paris. ........................................ 58 2-10 Ingres, Portrait of the Baronne de Rothschild, 1868, oil on canvas. Private collection. ........................................................................................................... 59 2-11 “Morning Toilette”, Cartoon from La Vie Parisienne. c. 1860s ............................ 60 2-12 Manet, Young Lady in 1866, 1866, oil on canvas. Metropolitan Museum of Art, New York. .................................................................................................... 61 2-13 Carolus-Duran, Young Lady with a Glove, 1869, oil on canvas. Musée d’Orsay, Paris. .................................................................................................... 62 2-14 James Tissot, Portrait of Eugene Coppens de Fontenay, 1868, oil on canvas. Philadelphia Museum of Art. http://www.philamuseum.org/collections/permanent/104504.html ...................... 62 3-1 James Tissot, Portrait of the Marquise de Miramon, 1866, oil on canvas. Getty Museum, Los Angeles............................................................................... 83 3-2 Tissot, Les Rendez-Vous, 1867. Oil on canvas, location unknown. ................... 84 3-3 Tissot, Meeting of Faust and Marguerite, 1860. Oil on canvas, Musée d’Orsay. .............................................................................................................. 85 3-4 James Tissot, Portrait of Mademoiselle L.L., 1864. ............................................ 86 3-5 Tissot, Les Deux Sœurs, 1863. Oil on canvas, Musée d’Orsay.......................... 87 3-6 James Tissot, Japanese Girl Bathing, 1864. Oil on canvas, Musée des Beaux-Arts, Dijon. ............................................................................................... 88 3-7 James Tissot, Young Lady Holding Japanese Objects, 1865. Oil on panel. ....... 89 3-8 James Tissot, Young Ladies Looking at Japanese Objects, 1869. Third version.
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