Artist's Decisions (with a question at the end)

Reading through some information about Tissot again reminded me of the choices artists must make time and time again.  In addition to composition, color, "when is it really done..," etc, there is the ongoing question of actual content and technique.  History spends volumes of time and text informing us about the "game changers" throughout time; those people who were anarchists, or joined forces with other "out of the box" thinkers, within their own culture, to shift the status quo.  Tissot is the perfect example of a very competent and financially successful artist who is not well referenced in historical documents for his style, subject matter, technique, color choices, etc.

During the nineteenth century, notable artists in France knew one another and gathered together to discuss "art stuff,"  renderings, techniques, genre, etc.  The evolution of one of these groups, which came to be known as the Impressionists, is well known.  Tissot not only lived during the rise of this group, but was friends with the artists that we know today as Impressionists.  In fact, Degas painted a portrait of him early in the Impressionistic movement.  In 1874 (after Tissot's moved to England,) Degas asked Tissot to "join them in the first exhibition organized by the artists who became known as the Impressionists, but Tissot refused." Wikipedia   He did maintain his friendships with the artists in the group, however, all of his life.

So what was it that helped Tissot hold his ground in his artistic style when many of those who were his friends were focused on light, pointalism and heavy oil washes?  For one thing, he was very financially successful.  As he moved more and more towards realism, his work became very popular with wealthy patrons.  Here is the artistic dilemma:  did he paint to the wishes of the patrons, his personal philosophies, his historical grounding in textiles and fashion, anarchy to the Impressionistic movement, or.....some other driving force?  Every artist who is selling work must make the decision of what to paint and how to do it with every canvas.  The painting style seen in On the Thames, A Heron and like those seen below, made him a very wealthy man.  Yet in a era where the tides of history celebrate the rebels, the artisan is not deemed significant for his artistic techniques or style.

Young Lady in a Boat, 1870 by James Tissot, oil on canvas.  Click on image to enlarge. Wikipedia

Young Lady in a Boat, completed two years prior to "...Heron..." in the MN Institute of Arts, has many similarities to the MN painting.  The textiles in this painting are very typical of much of his work and was highly sough after by wealthy industrialist patrons.  Notice the differences in the water in this painting and the one two years later, however.  It would suggest that the Impressionists did have some influence on the later piece.  Also, the location of the second image in this painting, the dog, and the second image in the MIA painting, the heron indicate a Japanese influence.  Clearly, Tissot is very success at blending influences from multiple sources and making them his own.  These constant adaptations would suggest that he was painting to please others (and his bank account,) as much or more than to declare a personal philosophy - ongoing decision for all artists who sell their work.

Bad News 1872, by James Tissot, oil on canvas.  Click on image to enlarge.  Wikipedia

Bad News was completed the year Tissot left France and moved to England.  Initially, the belief was that he left during the Franco-Prussian war as a political statement of conviction.  Addition research suggests, however, that he left to protect his paintings and materials.  It is clear what historian value as they convey events, but for the artist (or anyone for that matter,) is self preservation a less noble reason to relocate than political declaration?  Clearly, historians favor the anarchist over the pragmatist. 

In his later life, Tissot's work shifted to Bible themes, and appeared to be a reconnection with the teaching of his youth, primarily by his mother.  It is interesting to note that although he is not touted as a founding father, or even a participating member of the Impressionists, his work has provided a strong foundation for films like Raiders of the Lost Ark and The Age of Innocence.   His subject matter and imagery is valued over his technique.  The painting below is more typical of his later years.

The Ark Passes Over the Jordan, 1896 - 1902.  James Tissot. Click on image to enlarge.  Wikipedia

So, if you are an artist who always, sometimes, or occasionally sells your work, what influences your image choices and to what degree?