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Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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As Jesus continues on his route to Calvary, a woman now known as Saint Veronica approaches to offer momentary respite. Kneeling before Jesus, she gives him linen to wipe his face of the sweat and blood from his exertions and wounds. Taking the cloth in both hands, he presses it to his face, leaving a likeness of his features, which Veronica cherished as a memorial to him. In his commentary, Tissot notes that this relic was later taken to Rome for safekeeping by the Church. Object metadata can...
Topics: art, European Art
Brooklyn Museum
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Brooklyn Museum
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Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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Following reports of Jesus’ early miraculous deeds, including healing the sick and exorcising demons, others of the afflicted soon seek his help. Borne on makeshift litters or kneeling in the streets outside the home of Peter, the supplicants eagerly reach out to be touched by Jesus. In this image, the winding, narrow alleys of an ancient city intensify the impression of jostling crowds of followers. Tissot’s commentary takes particular note of the use of arches in the construction of...
Topics: art, European Art
To help guide the reader through the narrative of the Passion in his published Bible, Tissot repeatedly depicts two angels holding a dial, or clock, indicating the specific hour at which each event occurs. The tapers in their hands, Tissot tells us, signify purity and light: behind them, the sky is dark, but countless stars recall the promise of eternity. Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Exclaiming “Behold the man!,” Pilate shows the beaten and bloodied Christ to the crowds. The people gathered in the court below urge his execution, with pointed fingers raised in accusatory gestures. On the loggia before the assembled crowd, Pilate—convinced of Jesus’ innocence and impressed by his dignity, according to Tissot’s account—publicly washes his hands on the loggia before the square, symbolically distancing himself from the execution to follow. Object metadata can change...
Topics: art, European Art
Throughout the series, Tissot adopted compositional strategies that permit—and indeed, force—the viewer into the action of the narrative as a participant. In a significant departure from this practice, however, Tissot here presents an expansive view from above the public forum where Jesus hears his death sentence. Although the figures are minute, the red-cloaked Jesus, flanked on either side by the thieves condemned to die with him, can be clearly discerned standing before Pilate, who sits...
Topics: art, European Art
Brooklyn Museum
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
by James Tissot
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As they continue to plot against Jesus, the chief priests warn against acting during the feast of Passover, fearing a possible uprising at a time when Jerusalem’s population swelled dramatically, with many visitors in town to celebrate the holiday. While a young man keeps watch, the priests speak closely together, stroking their beards and scowling in an almost caricatural fashion, in Tissot’s rendering. Object metadata can change over time, please check the Brooklyn Museum object record...
Topics: art, European Art
Brooklyn Museum
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When Jesus dines in the house of one of the Pharisees, he does not wash his hands though Jewish ritual demanded it. When reproached by his host, Jesus, in turn, indicts the Pharisees for their hypocrisy: their emphasis on the appearance of righteousness through ceremony rather than true belief. In Tissot’s painting, Jesus condemns this group—much to their dismay and protest—with a dynamic gesture. Object metadata can change over time, please check the Brooklyn Museum object record for the...
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
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In a subject that he characterizes as “rarely, if ever, treated,” Tissot paints Jesus in prison—bound to a stone post, his hands chained but upraised in prayer. The artist notes the white light shining down, a further indication of the early hour on Good Friday. While Jesus prays, his guards, wearing armor, slump over in pre-dawn slumber. Dressed in a brown garment, Jesus has been stripped of the glowing white robe associated with his ministry. Now, as Tissot notes in the accompanying...
Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
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Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
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This episode reveals Jesus’ concern for the outcasts of society: in this case, those afflicted with leprosy, a chronic disease. The leper kneels in the center foreground of the image—dramatically making his plea to Jesus with his bandaged arms upraised. Referring to ancient laws regarding the lepers, Tissot writes that the man occupies the center of the road to permit the healthy to pass with ease on either side of the path. In the Gospel text, Jesus later urges the healed man to keep quiet...
Topics: art, European Art
Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
by James Tissot
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As Jesus expires on the cross, he utters the words “It is finished.” In this image, the spirits of the Old Testament prophets hover around the transverse bar of his crucifix, welcoming him into their company. Within the six-pointed Star of David, Tissot has painted the Hebrew word for Lord, further underscoring Christ’s role in the divine plan. Asserting that their “prophecies are accomplished,” the artist shows the hovering prophets triumphantly holding scriptural scrolls above their...
Topics: art, European Art
Brooklyn Museum
by James Tissot
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From Solomon’s Porch in the Temple complex, Jesus berates a large crowd of the devout for the killing of the prophets and predicts their rejection of him. Tissot paints Christ with his back turned to the viewer, an isolated figure. Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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With the news of the death of Herod, the Holy Family returned from Egypt, settling in Nazareth and spending each Passover in Jerusalem. After one trip, Mary and Joseph belatedly notice that Jesus—now twelve years old—has been left behind in Jerusalem. Retracing their steps, they find him at the Temple, discoursing freely with the doctors, whom Tissot describes as “specialists in every branch of science, each one famed for his skill in one or other branch of knowledge.” The learned men...
Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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Brooklyn Museum
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Brooklyn Museum
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Topics: art, European Art
Brooklyn Museum
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Following the accusation of blasphemy by the chief priest—a crime that demands the death sentence in ancient Jewish tradition— Jesus is brought before Pontius Pilate, the Roman governor of Judaea, at his palace. Bound and bloodied from his beatings, a seemingly frail Jesus faces Pilate, who wears the pristine toga of his rank. They meet alone in the Hall of Judgment, though several eavesdroppers appear through the screen in the background. In the moment depicted by Tissot, Pilate asks Jesus...
Topics: art, European Art
Brooklyn Museum
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Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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In the third temptation, the devil carries a passive Jesus up to a high pinnacle of the Temple, where he is challenged to jump and prove his protection by God’s angels. However, Jesus steadfastly retains his faith and refuses to test God. This image demonstrates bravura watercolor technique, contrasting the transparency of the devil’s horned, clawed, and winged body with the solid masonry of the Temple. Moreover, as a matter of storytelling skill, note that this bird’s-eye view looks down...
Topics: art, European Art
Brooklyn Museum
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Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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Brooklyn Museum
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Topics: art, European Art
Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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Seeking solitude for prayer following the miracle of the loaves and fishes, Jesus retreats to the peak of a mountain. Tissot’s commentary observes that such solitary moments precede many significant episodes in Jesus’ ministry, including the Ordaining of the Apostles, the Sermon of the Beatitudes, and the Transfiguration, noting Jesus’ preference for “lofty spots,” elevations near to God, for these meditative respites. In this dramatic image, Tissot sets Jesus against a night sky, his...
Topics: art, European Art
Brooklyn Museum
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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Following his presentation to the crowds from the loggia, Jesus is taken from Pilate’s palace—at half past eleven in the morning, Tissot precisely notes—to the public square where he will be officially condemned to death. Made a figure of mockery, Jesus is forced to wear the crown of thorns as well as the short scarlet cloak and carries a reed, meant to evoke a royal scepter. Focusing on the injuries suffered by Jesus, Tissot also notes that, at every step, the woolen cloak would have...
Topics: art, European Art
Brooklyn Museum
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Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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When Tissot first debuted his series in Paris in 1894, he preceded the earliest narrative scenes with this mysterious image of Jesus peering through a delicate screen. The artist provided the following verse from the Song of Solomon to accompany this unusual composition: “Behold, he [the beloved] standeth behind our wall, he looketh forth at the windows, showing himself through the lattice.” As scholars have noted, the vines heavy with fruit and the sunflowers—traditional Christian...
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Although this episode cannot be found in the Gospel accounts, Tissot presents a scene traditionally included as one of the Stations of the Cross, a series of images, venerated chiefly by Catholics, that trace the events of Jesus’ final hours. At the fourth station, he meets his mother, Mary, after he falls while carrying his cross to Calvary. Her arms extended toward her son, Mary rushes to his side, accompanied by John the Evangelist and Mary Magdalene. Her compassion stands in marked...
Topics: art, European Art
Brooklyn Museum
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Following the deprivations in the wilderness, Jesus receives the care of angels who restore his strength. Rejecting art-historical traditions in which Jesus takes material sustenance in the form of dates and pomegranates, Tissot insists on otherworldly agency. Here blue-hued, flame-haired angels extend their fingers to touch the prostrate form of the spent Jesus, who appears to assume a cross-like position. Object metadata can change over time, please check the Brooklyn Museum object record for...
Topics: art, European Art
Brooklyn Museum
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Brooklyn Museum
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For this scene, Tissot directly integrated one of the motifs from his extensive sketching campaigns in Palestine into a finished composition for the Gospel narrative. Here, a large boulder the artist had drawn by the Sea of Tiberias becomes the rock on which Jesus sits as he preaches to his followers. Such direct correlations between the sketched motif and the Gospel narrative evoke Tissot’s claim for what he termed hyperaesthesia —a combination of direct observation of his surroundings and...
Topics: art, European Art
Brooklyn Museum
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Brooklyn Museum
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Brooklyn Museum
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While crossing the Sea of Galilee in a ship during the night, Jesus and his disciples are overtaken by a storm. Tissot omits any sign of landfall, heightening the sense of danger in the rough, stormy sea. Awakened by his followers, who fear for their lives, Jesus quiets the tempest with a dramatic and dynamic gesture and rebukes his companions for their lack of faith. Tissot’s commentary connects this shipboard miracle with the miraculous draught of fishes, noting: “It was in the same boat,...
Topics: art, European Art
Brooklyn Museum
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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Topics: art, European Art
Brooklyn Museum
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Although Matthew, Mark, and Luke all describe Christ’s temptations by Satan, Tissot cites only the version given by Luke. For reasons that remain unclear, he changes the order of the tests given by Luke. In Tissot’s first image, Satan abducts Jesus and soars to a precipitous height—emphasized by the low, bright horizon line in the distance. The shadowy darkness of the claw-toed devil contrasts with Jesus’ pristine white cloak. From their great height, Satan tempts Jesus with the many...
Topics: art, European Art
Although Matthew, Mark, and Luke all describe Christ’s temptations by Satan, Tissot cites only the version given by Luke. For reasons that remain unclear, he changes the order of the tests given by Luke. In Tissot’s first image, Satan abducts Jesus and soars to a precipitous height—emphasized by the low, bright horizon line in the distance. The shadowy darkness of the claw-toed devil contrasts with Jesus’ pristine white cloak. From their great height, Satan tempts Jesus with the many...
Topics: art, European Art
Brooklyn Museum
by James Tissot
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art
Brooklyn Museum
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In Luke’s telling, Jesus returns to Nazareth, the town of his childhood, and goes to the synagogue on the Sabbath. Reading a passage from Isaiah, he declares himself the fulfillment of the prophet’s words, as the means of redemption and healing for the marginalized, afflicted, and oppressed. Those gathered in the synagogue react with wonder to find the prophecy realized in one of their own—“Joseph’s son,” as the group calls him. However, Jesus warns that his path promises hardship,...
Topics: art, European Art
Brooklyn Museum
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Object metadata can change over time, please check the Brooklyn Museum object record for the latest information.
Topics: art, European Art