Reviewed by: James Tissot: peintre de la vie moderne (1836-1902) par Olivier Deshayes Catherine Gaughan Deshayes, Olivier. James Tissot: peintre de la vie moderne (1836-1902). L'Harmattan, 2021. ISBN 978-2-343-23931-6. Pp. 200. The chouchou of the British aristocracy, James Tissot emerges in this fascinating study as an artist known for his eclectic and modern style. Unlike some of his more academic colleagues, Tissot traveled the world for inspiration with his companion and muse, Kathleen Newton, and the book traces his journeys exploring the various locations that influenced his style and unique approach to painting. Considered one of the most "English" of French painters of the nineteenth century, Tissot left an indelible mark on the artworld, in particular through the ways in which we understand narrative paintings and historical evocations, and is also remembered as a savvy salesperson who knew the value of his work. Written in French in a style that is both informative and engaging, the chapters trace Tissot's inspiration that spans the gamut from the Middle Ages to photography and naturalism. Deshayes divides his study of Tissot's contribution to painting into three specific periods: his time spent in Paris between 1859 and 1870; then in London 1871-1882, concluding with the death of Kathleen Newton; and finally, his work dedicated to religious imagery of the Old and New Testament as a result of several trips to the Middle East. The examples throughout the book provide a deeper understanding of the modernity of Tissot's themes exploring his London period and his feminine portraits, with particular attention to one of his most acclaimed paintings: La Dame à l'ombrelle (pictured on the cover), dating from around 1880-1882. Deshayes' analysis emphasizes the significance of this work from Tissot's technique to his choice of colors, as well as the demand for portraits from a social class concerned with image, perhaps not unlike our current obsession for the selfie today. Overall, a well-researched book with several illustrations, it also takes into account Tissot's interest in Japan as an avid collector of Japanese objects and works of art which can be seen in his own paintings' involving images of geishas, kimonos, and tatami, amongst others. The epilogue underlines the continued interest in Tissot as an artist, citing the current monetary value of his paintings and his ongoing influence on contemporary artists. An enjoyable read, the book gives a glimpse into the life and times of an artist whose works are frequently exhibited in England and the United States while still not widely recognized in France. It would be of interest to art historians and scholars of French painters alike. [End Page 211] Catherine Gaughan Toronto Metropolitan University (Ontario, Canada) Copyright © 2023 American Association of Teachers of French