It Is Finished 1886 - 1894

Editor: Here we have James Tissot's "It Is Finished," painted between 1886 and 1894, using oil paint. It depicts the crucifixion, but there's almost a crowded feeling despite the solemn subject matter. The expressions seem so diverse, and the landscape is minimized. How do you interpret this work? Curator: From a materialist perspective, it’s crucial to consider the means of production in a painting like this. Tissot, though academically trained, disrupts traditional religious painting. Notice the heavy brushstrokes. Consider how the commodification of religious art influences the choice of these cheaper materials. The canvas itself and its preparation are a statement. Do you think he's elevating labor, materiality and their relation to religious spectacle? Editor: That's interesting, I hadn't thought about the canvas itself as part of the meaning. I was more focused on the figures. So, you are saying the very material components challenge established boundaries between "high art" and common craftsmanship of its time? Curator: Precisely! Tissot's process reveals the labor behind the supposed divine moment. This wasn't divine intervention alone, but rather, made. It brings the production to the front. This isn’t ethereal; it's physical, created. This impacts how it may be interpreted through religion's own teachings. Do you follow my rationale? Editor: Yes, I do. I can now see how his individual Neo-Impressionistic approach to oil paint in 1886–1894 challenged the consumption of biblical paintings for private devotion. He draws attention to the physicality of this artistic work. Thank you for shining a new light on it. Curator: Indeed! By exploring the materials and means, we deconstruct traditional notions. We challenge high art, viewing 'making' as part of it's very intention, to de-sanctify religious art-making in itself. It impacts how and what stories it retells. A satisfying revelation!