The Prodigal Son in Modern Life Series by James Tissot
- Fr. Terry Miller
- Mar 24
- 3 min read
James Tissot (French, 1836-1902) is largely remembered for his scenes and portraits of the upper-middle class, but, during the 1880s he had a religious awakening and produced a number of works inspired by the New Testament. In 1885, he had what he referred to as an “epiphany” and “revelation” that lead him on a pilgrimage to cathedrals in France and to create a series of 35 scenes from the life of Christ.
During this religious decade, Tissot did multiple versions of the Prodigal Son (Luke 15). This particular series is titled “The Prodigal Son in Modern Times” and consists of three paintings all set in contemporary English life. They were exhibited at a one-man show at the Dudley Gallery (London) in May of 1882 and accompanied by watercolor sketches of the same paintings and etchings that were later reproduced widely in England.
Shortly after the show, Tissot returned to France and took the three original oils with him. They remained in his studio until his death in 1902 and were, then, offered to the Louvre, which would not take them. Instead, the three paintings were taken by Musée de Nantes, located in Tissot’s hometown, where they remain today.
In Tissot’s paintings, the story of the Prodigal Son is “modernized,” transposed to late 19th century England. In the first scene, “The Departure,” the son, a grown man, is petitioning his father, an ostensibly wealthy trader, for his share of the family inheritance. Note how the mother looks up from across the table, while the elder son gazes out the window, disinterested in the exchange. One wonders if he simply doesn’t want to witness his brother’s embarrassing demand of his inheritance, or if he is preoccupied with business interests, or if he simply waiting for his brother to fail and come crawling home.
In the next painting in the series, the scene shifts to a far-off land, perhaps Japan, where the younger son is enjoying a dance performance by women. Despite the exotic attire, the chorus line of dancers is reminiscent of the can-can, a dance in the cabaret popular in Tissot’s France at the time of the painting.
Finally, in the last of the series, Tissot depicts the moving reunion of the prodigal son and his father. The scene takes place on the docks or warehouses. In the background, livestock are being herded to and from the ships. These include both pigs, which the son fed in the original parable, and cattle, representing the fatted calf that was killed in celebration.
Note how the father has lost his hat, which lays on the ground or perhaps is actively falling. It is as if in his excitement, the father forgets, discards his status and dignity. Note too how present in this scene are not just the elder brother, but also the mother. The brother stands upright and unmoved, while the mother is more emotional, her hands brought to her face. But for whatever reason, she does not interrupt the reunion with her own embrace. One wonders how much she shares in the attitude of her older son towards her younger brother.
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