On display at the Metropolitan Museum of Art, is a portrait painting by the name “James-Jacques-Joseph Tissot”, a work by the renowned French artist, Edgar Degas. The large, approximately 59 by 44 inch painting, was completed circa 1867-1868 in Paris, France. The painting is a portrait of Degas’s friend and mentor, James Tissot, who himself was a French painter and illustrator. He sits in a room among a few different canvas paintings. Though the portrait- through the subject’s casual pose and through the seemingly haphazardly scattered objects- may, at first glance, give the impression of comfort and ease, I believe that, on the contrary, Degas uses a very exacting and calculated creative drawing structure to hint at portray a very precise message. Through this precision, Edgar delivers a message to the portrait’s audience, urging them to continue advancing the methods of art, thus passing on the responsibility of contributing to the art world.

What immediately attracts the eye is the subject of the painting, James Tissot. Upon first perusal, Tissot seems to be relaxed, casual, and even a bit unconcerned! His every-day outfit, reclined, comfortable position, and the jacket and hat propped hastily on the table, suggest true informality. However, this is not the case. In fact, with closer attention to detail, it is evident how Degas strategically orientated the placement of everything in the portrait. Rather than viewing the subject matter (Tissot) as an “informal” component, Tissot should be seen as exuding strength and authority, details that Degas cleverly and subtly incorporated. The staff in his hand indicates charge and control. It should be noted that this symbol of supremacy is perfectly centered (from width to width). Furthermore, Tissot’s eyes carry an almost “heavy” weight; speculators can almost “feel” the power of his intentional stare. All this precision and purposefulness was done so that speculators understand the implications and importance of the art and what art can accomplish. It is through this technique, that Degas bestows upon the viewer the responsibility of advancing art.

            Aside from the precise and calculated drawing of the subject of the portrait, Degas also calculated the multiple art pieces in the background. Though it may seem as though they were haphazardly chosen and placed, there is actually true purpose and significance in each of the canvas paintings. Two things should be noted: (1) the subject matter within each of the drawings and their historical significances and (2) their placement in the portrait. Right above Tissot is an exotic, Japanese-style picture; to the left and right are scenes of contemporary leisure; behind the easel is a sixteenth-or-seventeenth-century Venetian subject; and at center is a copy after a portrait of Frederick the Wise in the Louvre, formerly attributed to Lucas Cranach the Elder. Degas specifically chose these types of paintings for two reasons. One reason was to reflect the wide-ranging tastes in art that he shared with Tissot, but another reason was to offer speculators an array of different art pieces of different historical times. The portrait of Frederick the Wise represents the “oldest” painting and has religious implications as he was known to be one of the most powerful early defenders of Martin Luther, Lutheranism, and Protestant Reformation. Next in the historical “timeline” is the Venetian subject on the easel, which represents a new age of art and form. Afterwards are the two contemporary pieces, that represent a progression of art into a more modern form. Finally, there is the Japanse painting, which is considered to be the more modern painting. By incorporating different art styles from different times in history, Degas extrapolates on how art has a deep history, thus expanding upon this sort of “burden” (responsibility) that he is handing on to its speculators.

In terms of the placement of the paintings, it should be noted that, here too, there was much precision and planning involved. Firstly, there are two scenes of contemporary leisure, one on the left and one on the right. This evokes true symmetry and balance. It should also be noted that there are a lot of completed art pieces behind him, one piece that seems to be in-the-process (due to it being propped on the easel), and then at the front-most placed object is Tissot himself. In doing so, speculators appreciate the depth of past, present, and future. The past is represented by the paintings that have been completed (placed behind him), the present is represented by the art that is being created at the present time, and the future is represented by the Tissot himself as he is capable of the art of the future. It’s almost as though he “carries” all this artistic past with him and puts it on the audience as a responsibility. This only further demonstrates Degas’s message that this portrait is a “call for action” for speculators to consider their potential impact on the advancement of the arts.

In delivering this idea, I think it is very appropriate to mention why Degas chose to deliver such a message with a subject other than himself. If it is he who believes that speculators have a responsibility to the advancement of the arts, then why not draw a self portrait? By drawing Tissot, Degas demonstrates a communal agreement in his message. Thus, he creates somewhat of a support system or “team”, proving that he is not the only one that thinks the way he does.

            Through this portrait, Degas emphasizes his ideals and priorities. Although the portrait seems “informal” and “random” in terms of the subject and the complementing background, it is clear how Degas, in fact, used a very calculated technique and structure. Through this subtle and discreet technique, Degas hoped to expand upon the depth and power that art holds, and furthermore make its speculators responsible for continuing the progression and advancement of the arts.