The Flight of the Prisoners 1902

Curator: Looking at James Tissot’s "The Flight of the Prisoners" from 1902, one is immediately struck by the visual language—how it echoes familiar exodus narratives across different cultures. Editor: The dusty palette, the sheer scale of people... it feels biblical. Like an illustration pulled from a treasured childhood storybook. There's a weight to it. Curator: Indeed, and considering Tissot's focus on biblical scenes later in his career, it fits into a larger dialogue around religious art and representation of historical events. Tissot grapples with the politics of representing the marginalized, particularly relevant given his personal experiences as a refugee during the Franco-Prussian War. Editor: Notice how the throng moves away from the towering structures in the background, dominated by shades of grey and ochre? The linear procession is carrying all these bundled belongings, which signals disruption but also determination, as in 'we have the strength to take our life and heritage elsewhere, to continue.' Curator: That brings up questions about who are the 'prisoners' referred to in the title, though. Are they refugees? Enslaved peoples escaping oppression? Or something else entirely? We might read that the symbols around travel and exodus aren’t limited to solely religious imagery; they reflect wider narratives of resistance and power. Editor: The repetition of the figures, almost like hieroglyphs across the arid landscape, adds to that universality. Escape and hope are constant, fundamental human drivers and that is evoked successfully in that scene. It does make you think about contemporary refugee crises too. Curator: It also offers an interesting look at themes of social justice and self-determination across different historical contexts. Tissot provides space for audiences to engage with a wider range of complex discussions. Editor: A quiet picture then, brimming with questions relevant to today. I won't forget the symbolism in this artwork quickly.