The paintings debuted with enormous success at the 1894 Salon; men reverently removed their hats and women wept, moved by Tissot's stunning depictions of the events recorded in the Gospels. The paintings are the result not only of his dramatic conversion, but also years of travel in the Holy Land and a careful study of the Gospels. The detailed costumes, architecture, and landscapes in the paintings come from his careful observations during his travels. He was meticulous about every detail, right down to the proportions of the steps of the Temple where Joseph and Mary presented Jesus. Tissot often filled in details that were missing from the Gospels, such as the betrothal of Joseph and Mary, always drawing on his experiences in the Holy Land. Sometimes these details are jarring or even disturbing in their reality, as in his depiction of the Massacre of Innocents; for the most part though, they create magnificently portray Christ's life in vivid color.
Because Christian art portrays the same stories and subjects over and over, there is often repetition from one work to the next. Traditional symbols and gestures cue viewers into what is happening in the painting. Tissot departs from these standards and portrays the old subjects in new ways, and several times he paints moments that are not typically dealt with in religious art. For example he paints Joseph as he contemplates Mary's announcement that she is with child. Tissot portrayed Joseph as a young man (he is typically shown as old and grey, to emphasize his mortality), pensive and concerned about Mary's surprising news.
This is also apparent in his portrayal of the Crucifixion. While all of the usual people are present in the work, the change in perspective makes it completely unique.
The MOA will soon debut an exciting new exhibit of Carl Bloch's works; while Bloch is not French, if religious art is your thing this exhibit is not to be missed. More information about these and other exhibits at the MOA can be found here.
