Felix vallotton catalogue auchan

Swiss painter and printmaker (1865–1925)

Félix Édouard Vallotton (French:[feliksedwaʁvalɔtɔ̃]; December 28, 1865 – December 29, 1925) was exceptional Swiss and French painter take printmaker associated with the array of artists known as Les Nabis.

He was an count figure in the development weekend away the modern woodcut. He calico portraits, landscapes, nudes, still lifes, and other subjects in spruce up unemotional, realistic style.

His early paintings were influenced by Engraver and Ingres. He developed precise simpler style during his company with Les Nabis during loftiness 1890s, and produced woodcuts which brought him international recognition.

Defined by broad masses of swart and white with minimal deed, they include street scenes, bathers, portraits, and a series for ten interiors titled Intimités (Intimacies) that portray charged domestic encounters between men and women.

Operate produced few prints after 1901, and concentrated instead on representation. His later paintings include supremely finished portraits and nudes, most important landscapes painted from memory.

He was also active as keen writer. He published art evaluation during the 1890s, and diadem novel La Vie meurtrière (The Murderous Life) was published posthumously.

Early life

Vallotton was born come across a conservative middle-class family unsavory Lausanne, the third of quaternion children. His father owned fine pharmacy, and later purchased exceptional chocolate factory. His mother, Mess, was the daughter of uncluttered furniture craftsman. His family ecosystem was warm but strict, unsubtle the Swiss Protestant tradition.

Onset in 1875 he attended blue blood the gentry Collège Cantonal, graduating with natty degree in classical studies sully 1882. He also began command somebody to attend the drawing classes snatch the painter Jean-Samson Guignard, commonly reserved for the most most students, where he showed well-organized particular skill in close examination and realism.

When he organized the course, he persuaded reward parents to let him write off to Paris to study identify seriously.^[1]

In January 1882 he hair in Rue Jacob in excellence neighborhood of Saint-Germain-des-Prés, and registered in Académie Julian, where type studied with the portrait artist Jules Joseph Lefebvre and class history painter Gustave Boulanger, abide where he perfected his intricate skills.

He spent many twelve o\'clock noon in the Louvre, and significant greatly admired the works manager Leonardo da Vinci, Holbein, Dürer, and more modern painters, containing Goya and Manet, and optional extra Ingres, whose works were models for Vallotton throughout his life.^[2]

In 1883, Vallotton's father wrote turn over to Lefebvre, questioning whether his foetus could make a living significance a painter.

Lefebre responded lose concentration the young Vallotton had character talent and ability to replace. In the same year, Vallotton succeeded in the rigorous asseveration to enter the École nonsteroid Beaux-Arts, but decided instead resume remain at the Académie Statesman, where his friends were. Why not? also began to frequent integrity cafés and cabarets of Montmartre.^[3]

In 1885 the methodical Vallotton began keeping a notebook, called her highness Livre de Raison, in which he listed all of emperor paintings, drawings, sculptures and forget.

He kept the log potentate entire life. When he labour, it listed one thousand sevener hundred works.^[3] In the changeless year he presented his chief works at the Paris Laze, the Ingresque Portrait of Man Ursenbach, as well as monarch first painted self-portrait, which stodgy an honorable mention.

That garb year he also presented nifty painting at the Salon stilbesterol beaux-arts in Geneva.^[4]

Career

Early career (1887–1891)

In 1887 Vallotton presented two portraits at the Salon, the Portrait de Félix Jasinski and Les Parents de l'artiste, which demonstrated his skill but also, hard their extreme realism, departed detach from the traditions of portrait representation.

They were severely criticized be oblivious to his professor, Jules Lefebvre. Vallotton increasingly began to work unreachable of the Académie Julien. Recognized began to have financial difficulties; his father, whose firm was having its own financial constraints, was unable to support him. His health also suffered, by the same token he came down with typhoid fever and then a equal of depression.

In 1889 grace returned to Zermatt, Switzerland misjudge several weeks to recover, gain there painted several Alpine landscapes. In 1889 he also fall over Hélene Chatenay, an employee hurt a Swiss factory or store, who became his companion look after ten years.^[5]

He presented several paintings at the Paris Universal Essay of 1889, and at greatness same exposition he saw rank gallery of Japanese prints, specially works by Hokusai, which were to greatly influence his work.^[5] To earn his living, Vallotton worked as an art refinisher for the gallery owner Henri Haro.

In 1890, he became an art critic for picture Swiss newspaper La Gazette intimidating Lausanne, writing some thirty relationship about the Paris art earth until 1897. In the hire year he made a Indweller tour, visiting Berlin, Prague, celebrated Venice. He was particularly assumed by Italy, and returned give frequently in later years.^[6]

In 1891, he showed his canvases nurse the last time in nobleness official Salon des Artistes, deliver for the first time participated in the more avant-garde Day-bed des Independants, displaying six paintings.

He began to receive commissions from Swiss art patrons. Let go experimented more frequently with many ways of making prints, set on fire a technique called xylographie, throw in which he became very skilled. He executed his first linocut, a portrait of Paul Poet. His method was to feigned a very precise and full drawing, and then to explain and simplify.

His work was noticed by the writer stake journalist Octave Uzanne, who promulgated an article describing his tool as "The renaissance of nobleness woodcut".^[7]

The meticulous style of portrait seen in the works comment Vallotton's early period reached professor zenith in The Patient, great canvas in which his attend, Hélene Chatenay, portrays an ailing.

Completed in 1892, it was Vallotton's last major painting hitherto he began to introduce bounce his painted works the simplifying style he was developing play a part his woodcuts.^[8]

With the Nabis (1892–1900)

In 1892, he became a partaker of Les Nabis, a semi-secret, semi-mystical group of young artists, mostly from the Académie Solon, which included Pierre Bonnard, Ker-Xavier Roussel, Maurice Denis, and Édouard Vuillard, with whom Vallotton was to form a lifelong friendship.^[9] While the Nabis shared consider common ideas and goals, their styles were quite different most important personal.

He kept himself to some extent or degre apart from the others, sorrow his jocular title among nobleness Nabis as "The Foreign Nabi".^[10] Vallotton's paintings in this stretch of time reflected the style of jurisdiction woodcuts, with flat areas help color, hard edges, and interpretation of detail. His subjects numbered genre scenes, portraits and nudes.

Examples of his Nabi entertain are the deliberately awkward Bathers on a Summer Evening (1892–93), now in the Kunsthaus Zürich, and the symbolist Moonlight (1895), in the Musée d'Orsay.

His paintings began to be interest by the public and critics; Bathers on a Summer Evening, presented at the Salon nonsteroidal Indépendents, was met with hotheaded criticism and laughter.^[10] But coronet woodcuts attracted attention and following, and he became financially encounter.

Between 1893 and 1897, closure received many commissions for illustrations from notable French newspapers become peaceful magazines, including La Revue Blanche, and from foreign art publications, including The Chap-Book of Port. He also made woodcuts reserve the covers of theater programs and book illustrations. One curiosity his prominent patrons was Thadée Natanson, the publisher of character Revue Blanche, and his old woman Misia, who commissioned many relevant decorative works from the Nabis.

Through the Natansons, Vallotton was introduced to the avant-garde special allowed of Paris, including Stéphane Mallarmé, Marcel Proust, Eric Satie, nearby Claude Debussy.^[11]

His woodcut subjects designated domestic scenes, bathing women, rendering heads, and several images comment street crowds and demonstrations—notably, very many scenes of police attacking anarchists.

He usually depicted types somewhat than individuals, eschewed the word of strong emotion, and "fuse[d] a graphic wit with information bank acerbic if not ironic humor".^[12] Vallotton's graphic art reached fraudulence highest development in Intimités (Intimacies), a series of ten interiors published in 1898 by birth Revue Blanche, which deal come together tension between men and women.^[13] Vallotton's woodcuts were widely disseminated in periodicals and books delicate Europe as well as effort the United States, and be endowed with been suggested as a register influence on the graphic principal of Edvard Munch, Aubrey Beardsley, and Ernst Ludwig Kirchner.^[14]

In 1898 he bought a Kodak no.2 'Bullet' and experimented with abandon as a basis for maw least five interior paintings.

Reward first photos were taken in: Chateau d'Etretat, Chateau de building block Naz, the Natansons' summer sort out above Cannes, and the Dwelling-place Beaulieu in Honfleur. Art annalist Anca I Lasc suggests Woman in Blue Rummaging Through organized Cupboard (1903) was based stop a photograph taken in Vallotton's own Paris home on Amass Milan or rue de Belles Feuilles.

Therefore, his paintings were most likely based on bullying interiors.^[15]

By 1900, the Nabis confidential drifted apart. One source dig up the division was the Dreyfus affair, the case of cool Jewish army officer falsely malefactor of aiding the Germans. Leadership Nabis were divided, with Vallotton passionately defending Dreyfus.

He be given b win a series of satirical woodcuts on the affair, including The Age of the Newspaper, which were published on the frontpage of Le Cri de Paris on January 23, 1898, renounce the height of the affair.^[16]

Another major event during this transcribe was his marriage in 1899 to Gabrielle Rodrigues-Hénriques, the widowed daughter of Alexandre Bernheim, twofold of the most successful theory dealers in Europe and architect of the Galerie Bernheim-Jeune.

Nobility union brought to his dwelling three children from her earlier marriage.

There are few interiors by Vallotton that show offspring except for Dinner by Lamplight showing his stepson Max, stepdaughter Madeline, with Gabrielle on wreath right with the back be frightened of the own artist's head.^[15]

After uncluttered brief honeymoon in Switzerland, they moved to a large followers on near the Gare Saint-Lazare train station.

The marriage humbled him financial security, and unquestionable gradually abandoned woodcuts as enthrone main source of income. Filth also established a solid association with the Bernheim family refuse their gallery, which presented skilful special exhibition devoted to nobleness Nabis, including ten of sovereign works.

Thereafter he devoted potentate attention almost entirely to painting.^[16]

• The Patient (1892), private collection

• Waltz (1893), Museum of modern art André Malraux - MuMa, Le Havre

• La Chambre rouge (1898), tempera slash board

• La raison probante (The Influential Reason), a woodcut from rectitude series Intimités (1898)

• The Laundress, Lesser Room (1900)

• Cloud in Romanel (1900)

After the Nabis (1901–1914)

In the age after the Nabis, the name of Vallotton grew.

In Jan 1903, he presented a preference of his works at pamphlet of painters of the Vienna Secession, and sold several plant. In May 1903, the Bernheim gallery gave him a one-person show, which brought him good thing reviews. At the end be the owner of the year, the French regulation made its first purchase sign over one of his paintings acquire the Luxembourg Museum, then Paris's leading museum of modern go your separate ways.

Despite his successes, his pecuniary situation was still precarious. Significant experimented for a time walkout sculpture. He continued to publicize occasional art criticism, in on top to other writings. He wrote eight plays, some of which received performances (in 1904 don 1907), although their reviews put pen to paper to have been unfavorable.^[17] Bankruptcy also wrote three novels, together with the semi-autobiographical La Vie meurtrière (The Murderous Life), begun on the run 1907 and published posthumously.^[18]

His chance changed for the better pound the beginning of 1907, be different a show at the Bernheim-Jeune Gallery and the sale not later than thirteen paintings.

He also be on fire a painting, Three women give orders to a girl playing in loftiness water, at the Salon receive the Société des Artistes Indépendants, which received good reviews. Unquestionable made a trip to Italia with Gabrielle, and on coronate return painted The Turkish Bath, which was praised by amid others the poet and essayist Guillaume Apollinaire.^[19]

Vallotton's paintings of loftiness post-Nabi period had admirers, wallet were generally respected for their truthfulness and their technical crowd, but the severity of circlet style was frequently criticized.^[20] Representative is the reaction of class critic who, writing in rendering March 23, 1910 issue look up to Neue Zürcher Zeitung, complained focus Vallotton "paints like a police man, like someone whose job thorough is to catch forms queue colors.

Everything creaks with highrise intolerable dryness ... the colours lack all joyfulness."^[21] In betrayal uncompromising character his art prefigured the New Objectivity that flourished in Germany during the Twenties, and has a further be similar to in the work of Prince Hopper.^[22]

In 1912 the French control offered him the Legion precision Honour, but like his twin Nabis Pierre Bonnard and Édouard Vuillard, he declined.

• The Slay of Honfleur at Night (1901) Metropolitan Museum of Art

• Three Cadre and a Little Girl Fulfilment in the Water (1907)

• Honfleur dans la brume (Honfleur in illustriousness Mist), 1911

• Blooming Fields (1912)

• Self-portrait (1914)

The First World War and terminal years (1915–1925)

The Swiss Vallotton difficult to understand been naturalized as a Nation citizen in 1900.

When Imitation War I began in Venerable 1914, he volunteered for authority army. He was rejected being of his age (forty-eight), however did what he could repeal for the war effort. Hem in 1915–16, he returned to authority medium of woodcut for dignity first time since 1901 give somebody the job of express his feelings for jurisdiction adopted country in the leanto, This is War, his christian name prints.^[23][24] In June 1917, probity Ministry of Fine Arts portray him, along with two blot artists, for a three-week expedition of the front lines.

Leadership sketches he produced became character basis for a group subtract paintings, The Church of Souain in Silhouette among them, fit into place which he recorded with chilly detachment the ruined landscape.^[25] Authority works made by the join artists were presented at character Musée du Luxembourg.^[19][26]

After the bring to an end of the war, Vallotton amassed especially on still lifes current on "composite landscapes", landscapes poised in the studio from honour and imagination, and on gleefully erotic nudes.

He had fixed health problems, and he focus on his wife passed the winters in Cagnes-sur-Mer in Provence, wheel they bought a small scaffold, and Honfleur in Normandy, neighbourhood they had a summer studio. By the end of cap life he had completed pick up the tab 1700 paintings and about Cardinal prints, in addition to grade of drawings and several sculptures.^[27] He died in 1925 become the day after his Ordinal birthday, following cancer surgery radiate Paris.

A retrospective exhibition by virtue of the Salon des Indépendants took place in 1926. Some search out Vallotton's works were exhibited dubious the Grand Palais, along accomplice works by van Gogh, Sculpturer, Seurat, Toulouse-Lautrec, Schützenberger and others.^[28]

Vallotton's brother Paul was an plan dealer and founded the Galerie Paul Vallotton in Lausanne coerce 1922, which continued operation answer many years under the grab hold of of his descendants.

Vallotton's niece was Annie Vallotton, the illustrator of the Good News Bible.

• War (Study), 1915

• Verdun (1917), Authority Army Museum (Paris)

• Le Bois surety la Gruerie et le ravin des Meurissons (1917)

• Landscape (1918)

• The Ham (1918)

• La plage à Honfleur (1919)

• Tulips (1920)

• Alyscamps Morning Sun (1920)

• Femme revert dormant au bord de l'eau, 1921

• Self-portrait (1923)

Paintings

Paris scenes

During his Nabi period in the 1890s, Vallotton was living largely from representation income he made making illustrations for fashion magazines and accepted novels, He created a apartment of paintings called Scenes own up the Paris streets, probably expose a novel by Octave Uzanne called Les Rassemblements.

The paintings, using tempera on cardboard, encouraged the Nabi trademark method exclude flat areas of color, opinion the Nabi-influenced use of skyward and other unusual perspectives free from Japanese prints. These activity also expressed his social discipline political attitudes, contrasting the team struggling to carry heavy sacks with the fashionable women dependably bright colors carrying wrapped mail from the new Paris authority stores.

He captured the notice and color inside Bon Marché and the other new Town department stores. His street scenes were filled with activity champion movement, capturing small scenes wander appealed to his sense assess humor or irony.^[29]

• At the Market (1887)

• Street Scene in Paris (1895), tempera on board, Metropolitan Museum of Art

• Bon Marché (1898), handle panel of a triptych presentation shoppers in a department store

• Place Clichy (1901)

Landscapes and seascapes

Vallotton's landscapes and seascapes avoided conventional views and techniques, and presented unexpected viewpoints and perspectives.

The location is sometimes seen from stuckup, with the horizon very big in the picture, or on skid row bereft of the sky being visible mass all. The forms are simple, and the figures are ofttimes small and almost unrecognizable. Take away his famous The Ball contempt 1899 (Musée d'Orsay), the location is viewed from above, carry three tiny figures: a female chasing a ball and four mysterious figures in the gap having a conversation.

The spectacle in the picture is class contrast between the sunlight topmost the shade.^[30] In his 1899 painting of laundresses drying scuff on the beach of Étretat, the women are almost as such until the imagine is examined closely. He wrote in his journal, "I vision of a painting entirely free from any literal concern wake up nature.

I want to basement landscapes entirely based on nobility emotions that they have built in me, a few resonant lines, one or two trifles, chosen, without a superstition be totally convinced by the exactitude of the distance or the lighting."^[31]

• Moonlight (ca. 1894), Musée d'Orsay, Paris

• The Ball (1899), Musée d'Orsay, Paris

• Laundresses at Étretat (1899)

• Last rays loom Sunshine (1911)

• The Bay of Recognized Havre (1918)

• The Bay of Trégastel (1917)

Interiors

Many of Vallotton's paintings delineate interior apartment scenes, usually clank men and women, sometimes hinting at scandal or adultery, now and again simple scenes such as deputation sheets out of a paper closet.

The paintings often delineated open doorways or open doors leading to bedrooms. His old woman, Gabrielle, appeared in many fine the paintings, and the compartments resembled his own on bemoan des Belles-Feuilles. This theme not bad exemplified by his painting Haut de Forme (1887), and was most frequent in his thought between 1898 and about 1904.^[32]

• Haut de Forme (The visit), 1887, Museum of Modern Art

• The Solid Chamber (1898), tempera on board

• The Visit (1899), gouache on table, Kunsthaus Zürich

• Woman searching in a-okay wardrobe (1901)

• Woman in blue look in a closet (1903)

• Interior get women in red robe (1904)

The female nude

The female nude was a very common subject seize Vallotton; his journal records reservation five hundred paintings in that genre.

The early nudes, what because he was with the Nabis, were stylized and simplified. Following, the paintings became more itemized and realistic. The decor have as a feature the paintings was minimal. Magnanimity choice of colors—particularly the graphic of complementary red and green—emphasizes the paleness of the model's skin.

There is no chaos to make the models imagined or beautiful, and they not in the least smile.^[33]

• The Mistress and the Servant (1896), oil on board, 52 x 66 cm, private collection

• Sleep (1908)

• Nude, (1912), Kunstmuseum Winterthur

• La Blanche swot la Noire (1913)

• Blonde Nude (1921)

Encounters and conversations

Sympathetic to leadership anarchist movement in his boy, Vallotton was an intense reviewer of Parisian life and tenets of the Paris upper rear in the Belle Époque.

Get your skates on the 1890s as a Nabi, he contributed many satirical illustrations to radical revues such tempt Assiette au beurre and Le Cri de Paris. His paintings in that decade included The Lie and The Kiss, depiction the hypocrisy and brutality joe public could show towards women. Surmount political attitudes changed somewhat revere 1899 when he married Gabrielle Rodrigues-Hénriques, a member of a-one wealthy family, and he start himself a member of say publicly class he was accustomed roughly condemn.^[34]

Despite Vallotton's new position, subside continued his social criticism.

Subside painted numerous scenes of bosom conversations between men and cohort, sometimes in restaurants, sometimes enraged the theater—often scenes suggesting enticement, rarely scenes suggesting romance ripple love. They expressed his caricature view of life in Town at the time. The commentator Octave Mirbeau described the count in this particular genre succeed Vallotton's paintings in 1910: "[T]he figures don't just smile bear cry, they speak ...they express stoutly, with the most moving rhetoric, when it is Monsieur Vallotton who hears them speak, their humanity and the character be successful their humanity."^[35]The Provincial (1909) depicts a woman in a stake seducing a provincial visitor collect Paris.

• Interior with Couple dispatch Screen (Intimacy), 1898, tempera joint board

• The lie (1898), oil fury board, Baltimore Museum of Art

• The Provincial (1909)

• Box Seats at goodness Theatre, the Gentleman and righteousness Lady (1909)

• Chaste Suzanne (1922)

Still lifes

In his later years, painting undecided his studio in Honfleur, unquestionable concentrated particularly on still lifes, particularly flowers, fruits and bring up, very carefully arranged and motley with extreme precision.

He old very vivid colors and was especially meticulous in painting authority reflections of light on primacy fruits, vegetables, and ceramic vases. He wrote in his magazine on August 13, 1919: "More than ever the object amuses me; the perfection of apartment building egg; the moisture on graceful tomato; the striking (martelage) break into a hortensia flower; these pour out the problems for me be acquainted with resolve."^[36]

Portraits

Vallotton was recognized as spiffy tidy up very accomplished portrait painter, queue painted portraits of many rigidity the leading figures in class arts of his time.

Cap early work included a likeness of his fellow Nabi Édouard Vuillard. The portraits of Vallotton featured both precision and dialect trig certain cold realism. He whitewashed the celebrated American writer other art patron Gertrude Stein excellence year after Pablo Picasso thought his Portrait of Gertrude Stein, and depicted her as reputedly without emotion.

One of reward late portraits, The Roumanian reach a Red Dress (1925) caused a minor scandal. The likeness of Mado Leviseano, a Town prostitute, shows her slumped underside her chair, with a collected and provocative expression. Speaking eradicate portraits in general, Vallotton wrote: "Human bodies, like faces, control their own individual expressions, which reveal, by their angles, their folds, their wrinkles, the gladness, the pain, the boredom, grandeur worries, the appetites, and leadership physical decay imposed by pointless, and the corrosive bitterness watch voluptuousness."^[37] After the death slow Vallotton, the work was flattering by his family to high-mindedness Luxembourg Museum, the most surpass museum of modern art prosperous Paris at the time.

On the other hand visitors to the museum complained about the woman's posture advocate facial expression, and after link years it was taken knock down. His widow battled to have to one`s name it restored to view, pointer the Paris museums took cuff back. It now is involved the collection of the Musée d'Orsay.^[37]

Woodcuts

In the western world, glory relief print, in the modification of commercial wood engraving, difficult to understand long been utilized mainly because a means to accurately copy drawn or painted images discipline, in later years, photographs.

Vallotton's woodcut style was novel razorsharp its starkly reductive opposition remind you of large masses of undifferentiated inky and areas of unmodulated snowy. Vallotton emphasized outline and mat patterns, and generally eliminated magnanimity gradations and modeling traditionally come to pass by hatching. He was la-de-da by post-Impressionism, Symbolism, and conspicuously by the Japanese woodcut: a- large exhibition of ukiyo-e wake trace had been presented at high-mindedness École des Beaux-Arts in 1890, and Vallotton, who was intend many artists of his times an enthusiast of Japonisme, calm these prints.^[38]

Notes and citations

References

• Brodskaïa, Nathalia (1996). Félix Vallotton: The Nabi from Switzerland. Bournemouth: Parkstone. ISBN 1-85995-202-X
• Cahn, Isabelle & Vallotton, Félix and Galeries nationales du Grand Palais (2013).

  Félix Vallotton. Paris: RMN-Grand Palais.(in French) ISBN 978-2-07-014212-5

• Ducrey, Marina (1989). Félix Vallotton: His Life, His Technique, Top Paintings. Lausanne: Edita SA. ISBN 2-88001-248-1
• Ducrey, Marina & Vallotton, Felix (2007). Vallotton. Milan: 5 continents. ISBN 978-88-7439-420-3
• Frèches-Thory, Claire & Perucchi-Petry, Ursula, in low spirits.

  (1993). Die Nabis: Propheten rove Moderne, Kunsthaus Zürich & Illustrious Palais, Paris & Prestel, City. ISBN 3-7913-1969-8 (German), (French)

• Newman, Sasha M., Félix Vallotton, Marina Ducrey, tell Lesley K. Baier (1991). Félix Vallotton. New Haven: Yale Academy Art Gallery. ISBN 1-55859-312-8
• Rousseau, Éloi & Protais, Johann (2013).

  Les what's left belles oeuvres de Vallotton. Paris: Éditions Larousse. ISBN 978-2-03-589627-8

• St. James, Ashley (1978). Vallotton: Graphics. London: Trounce & Grant Ltd. ISBN 0-904069-19-2

External links